Writings about the guitar by Matanya Ophee

An Annotated Bibliography

Compiled and annotated by Erica M. Lohmann and Matanya Ophee

Books:

     

  1. 1981, Luigi Boccherini’s Guitar Quintets: New Evidence, to which is added, for the first time, a reliable biography of François de Fossa and a checklist of his known compositions.
     
    Establishes the provenance of the guitar quintets by Luigi Boccherini. Examines the correspondence between de Fossa and Picquot, and editions of the quintets; provides a study of de Fossa and a checklist of his works.

    Articles:

     

  2. 1965 Jan/Feb, “Israel: A New Guitar Society”, in Guitar News No. 81.
     
    Discusses the creation of the first guitar society in Israel. Mentions the activities of Israeli guitarists at the time: José Pelta, Menasche Baquiche, Anatole Regnier, Ephraim Pollack, Edgard Dana, Eli Magen and Haim Asulin. Includes a gorgeous picture (if I should say so myself...) of the author as a handsome young man with his equally magnificent Fleta. Right smack on the cover!

     

  3. 1976 Aug, “Guitar Chamber Music, Why? One Amateur’s Viewpoint”, in Soundboard III/3
     
    Chamber music as a way to widen the performance field and popular knowledge of guitar music.

     

  4. 1976 Nov, “Guitar Chamber Music, Why? Part Two”, in Soundboard III/4
     
    Issues of g.c.m repertoire, publications, performance, teaching, etc.

     

  5. 1977 Feb, “Guitar Chamber Music, Why? Part Three” in Soundboard IV/1
     
    Issues of harmony, rhythm, fingering, balance (including electronic amplification), etc.

     

  6. 1977 May, “Guitar Chamber Music, Why? Conclusion”, in Soundboard IV/2
     
    Issues in teaching/training guitarists, etc. (All four installments of the article were heavily edited by the journal editor, without my consent, sometimes resulting in ideas I did not intend to convey.)

     

  7. 1977, “Chamber Music for Terz-Guitar: A Look at the Options”, in Guitar Review 42
     
    Looks at questions of tuning, use of capo, gauge of strings when playing music written for terz guitar.

     

  8. 1977 Apr, “Musica da camera per chitarra, perché?” in Il Fronimo V/19
     
    Full version, unedited, of article in SB. In Italian.

     

  9. 1977 June, “Chamber Music for Terz Guitar—A Look at the Options”, in Gendai Guitar XI/127
     
    (in Japanese)

     

  10. 1977, October,“First Lessons For Classic Guitar” in ASTA National Guitar Symposium 1977, edited by Roy Petchauer. A Compendium of the proceedings.
     
    The text of the handout given at the conference, being an article which describes the pedagogical ideas in Richard Pick’s First Lessons for Classic Guitar, Book I. The text of the lecture itself was not included by the editor of the compendium.

     

  11. 1978 Oct, “La Chitarra Terzina”, in Il Fronimo VI/25
     
    Lengthier discussion of issues raised in GR 42 and later elaborated upon in SB XIV/4.

     

  12. 1978 May, “Chitarra Terza—Some Historical and Practical Observations”, in Gendai Guitar XII/139
     
    see SB XIV/4, IF VI/25 and GR 42

     

  13. 1978 June, “Chitarra Terza—Some Historical and Practical Observations (pt.2)”, in Gendai Guitar XII/140
     
    In Japanese. see SB XIV/4, IF VI/25 and GR 42.

     

  14. 1979 Sept, “A Chromatic Approach to Beginning Guitar Instruction: To the memory of Bunyan Webb”, in Gendai Guitar XIII/157
     
    Discussing Richard Pick’s approach to beginning guitar instruction, Based on the lecture given at the 1977 ASTA Guitar Symposium in New Orleans. (See above.)

     

  15. 1980, July-August, “Historical Research, A Guest Essay”, in Guitarra Magazine No. 39
     
    Argues for considering Torres’ innovations as a continuation of earlier Spanish guitar making traditions. Prefaced by a “Columnist’s Note” by the “Historical Research” editor Thomas F. Heck.

     

  16. 1981 Aug, “The Promotion of Francisco Tárrega—A Case History”, in Soundboard VIII/3
     
    Examines the image of Tárrega put forth by Segovia et al while attempting to disclose actual historical fact about the man.

     

  17. 1981 Nov, “The Promotion of Francisco Tárrega—Conclusion”, in Soundboard VIII/4
     
    Focuses on the existence of the “School of Tárrega,” and if indeed one exists.

     

  18. 1981 Nov/Dec, “Die Begunstigung von Francisco Tárrega”, in Gitarre & Laute III/6
     
    pt. 1; reprint of article in SB VIII/3. In German.

     

  19. 1981 May, “Who Wrote “La Sentinelle?”, in Soundboard VIII/2
     
    Establishes authorship of “La Sentinelle” to be by Frenchman Alexandre Etienne Choron.

     

  20. 1981 Dec, “In Defense of Two Friends”, in Gendai Guitar XV/187
     
    Tárrega, Prat, Aguado. In Japanese.

     

  21. 1982 Jan, “In Defense of Two Friends” in Gendai Guitar XVI/188
     
    part two. In Japanese.

     

  22. 1982 Feb, “In Defense of Two Friends in Gendai Guitar XVI/189
     
    part three: Sor, Aguado. In Japanese.

     

  23. 1982 Mar, “In Defense of Two Friends” in Gendai Guitar XVI/190
     
    part four: Tárrega, supported stroke (apoyando). In Japanese.

     

  24. 1981 July, “In Difesa dei “Due Amici”, in Il Fronimo IX/36
     
    Discusses the question of a Tárrega school through looking at Tárrega’s connections with Prat and with Pujol. In Italian.

     

  25. 1982 Jan/Feb, “Worin besteht eigentlich die Tárrega-Schule?”, in Gitarre & Laute IV/1
     
    Partial reprint of SB VIII/4. In German.

     

  26. 1982 May/June, “Worin besteht eigentlich die Tárrega-Schule?”, in Gitarre & Laute IV/3
     
    Second half of article in G&L IV/1. In German.

     

  27. 1982 July/Aug, “Wer schrieb “La Sentinelle?”, in Gitarre & Laute IV/4
     
    Revision of article in SB VIII/2 stating that most evidence points to Choron as the author of the piece. In German.

     

  28. 1982, “The History of Apoyando”, in Guitar Review 51
     
    The origin of the “rest stroke” technique, and whether Tárrega actually did create it.

     

  29. 1982 May, “Who wrote “La Sentinelle?”, in Gendai Guitar XVI/192
     
    Reprint. In Japanese.

     

  30. 1982 Nov/Dec, “Des Geschichte des Apoyando”, in Gitarre & Laute IV/6
     
    Same as article in GR 51. In German.

     

  31. 1982 Fall, “The Memoirs of Makaroff”, in Soundboard IX/3
     
    Makaroff’s Confession regarding the competition at which Mertz won first prize. Supplementing the truncated translation by Vladimir Bobri and Nora Ulrich previously published in the Guitar Review.

     

  32. 1983 March, “New Light on the So-called ‘Modern’ Guitar Notation” in Guitar and Lute magazine No. 27
     
    Questions Heck’s statement that Giuliani may have developed modern guitar notation, coming out in favor of the Frenchman Jean-Baptiste Phillis

     

  33. 1983 June, “Carcassi Was a Lefty”, in Gendai Guitar 207
     
    The pitfalls of relying on pictorial evidence or on any evidence just because it has been published, particularly as regards the famous alleged portrait of Matteo Carcassi. Deals extensively with the iconographic issues raised in Thomas F. Heck’s article regarding Giuliani’s “new Portrait” as depicted on the cover of the Hummel Serenades. Followed by a detailed rebuttal by Dr. Heck. In Japanese.

     

  34. 1983 July/Aug, “Die Entstehung der ‘modernen’ Gitarrennotation in neuem Licht”, in Gitarre & Laute V/4
     
    German translation of article in Guitar and Lute, March 1983.

     

  35. 1983 Apr, “Il Tocco Appoggiato Precisazioni e Argomenti Storici”, in Il Fronimo XI/43
     
    Same as article in GR 51. In Italian.

     

  36. 1984 May/June, “Wer macht hier was mit wem? Eine kurze Studie zu gundlegenden Fragen der Geschichte der Gitarre”, in Gitarre & Laute VI/3
     
    Same as article in GI XII/11. In German.

     

  37. 1984 June, “Who Did What, And With Which, and To Whom?” in Guitar XII/11
     
    “A short study in basic guitar history;” plagiarism in guitar literature, as exemplified by Mozzani’s Feste Lariane/Peruvian Air question.

     

  38. 1984 May, “Who Did What, and With Which, and To Whom?”, in Gendai Guitar XVIII/218
     
    Same as above. In Japanese.

     

  39. 1984 Nov/Dec, “Yamashita hören . . . und staunen”, in Gitarre & Laute VI/6
     
    Discusses Yamashita’s musicianship, especially his transcription/performance of Musorgsky’s “Pictures at an Exhibition”. In German.

     

  40. 1985 March, “The Complete Giuliani: To Facs. or Not To Facs.?” in Guitar International XIII/8
     
    Uses publication of Jeffery’s edition of the complete works as springboard for discussion of issue of facsimiles vs. re-engraved editions.

     

  41. 1985 Mar/Apr, “Faksimile oder nicht Faksimile? Das war hier die Frage”, in Gitarre & Laute VII/2
     
    Same as article in GI XIII/8. In German.

     

  42. 1985 May/June, “Das erste Gitarrenkonzert und andere Legenden”, in Gitarre & Laute VII/3
     
    Non-playing composers for guitar, esp. one Rafael Adame and his Concierto Primo. Establishes Adame’s work as the first 20th century concerto for guitar. In German.

     

  43. 1985 July, “The First Guitar Concerto. . . and other legends”, in Classical Guitar III/11
     
    Same as article in G&L VII/3.

     

  44. 1986 Aug, “Some Considerations of 19th Century Guitar Music and Its Performance Today”, In Classical Guitar IV/12,
     
    1st in a 4-pt series. Discusses various myths about 19th century guitar music (no need for further research, a recession in guitar during this time, decline in spite of many virtuosi, people such as Sor and Mertz are not in the same class as Chopin and Beethoven, etc.)

     

  45. 1986 Sept, “Some Considerations of 19th Century Guitar Music . . .” in Classical Guitar V/1
     
    2nd in series. Continues debunking various myths from the first article (editions of early 19th c. music serve no useful purpose, little quality music was written, etc).

     

  46. 1986 Oct, “Some Considerations of 19th Century Guitar Music . . .”, in Classical Guitar V/2
     
    3rd in series. Deals with question of authentic performance when presented with an edition (ex: Segovia’s edition of Sor studies) that is less than accurate.

     

  47. 1986 Dec, “Some Considerations of 19th Century Guitar Music . . .”, in Classical Guitar V/4
     
    Last in series. Issues of arpeggiation, ornamentation, or just modification of music by performers.

     

  48. 1985 Sept/Oct, “Romantische Gitarrenmusik: Kritische Anmerkungen”, in Gitarre & Laute VII/5
     
    Portion of an article published in CG (1986), IV/12. In German.

     

  49. 1986 July/Aug, “Romantische Gitarrenmusik: Kritische Anmerkungen Teil 2”, in Gitarre & Laute VIII/4
     
    pt. 2 of an article also published in CG V/1. In German.

     

  50. 1986 Jan, “Über Kompetenz und Aufrichtigkeit in der Geschichtsforschung”, in Nova Giulianiad II/8
     
    Uses discussion of de Fossa’s overture and Aguado’s method for an overall essay on the necessity of scientific discrimination in the search for musicological fact, taking Wolf Moser to task. In German.

     

  51. 1986 July, “On Primary Sources”, in Classical Guitar IV/11
     
    While crediting Segovia with his achievements in furthering the guitar, cautions use of Segovia’s statements as primary sources due to the inability to substantiate many of them. An answer to statements made by Graham Wade.

     

  52. 1987 Mar/Apr, “Romantische Gitarrenmusik: Kritische Anmerkungen Teil 3”, in Gitarre & Laute IX/2
     
    pt. 3 of an article also published in CG V/2. In German.

     

  53. 1987 July/Aug, “Romantische Gitarrenmusik: Kritische Anmerkungen Teil 4”, in Gitarre & Laute IX/4
     
    pt. 4 of an article also published in CG V/4. In German.

     

  54. 1987 Jan, “La Chitarra in Russia: osservazioni dall’Occidente”, in Il Fronimo XV/58
     
    A brief discussion of players and compositions of and for the guitar in Russia. In Italian.

     

  55. 1987 Sept, “In Response to the Offensive”, in Classical Guitar VI/1
     
    Response to the exceptions taken by Messrs Eisenhardt, Stenstadvold, and Johnson regarding the series on 19th century performance. To be continued . . .

     

  56. 1987 Oct, “In Response to the Offensive, part II”, in Classical Guitar VI/2
     
    Continues previous reply to exceptions taken to the series on 19th century performance.

     

  57. 1987-88 Winter, “The Story of the Lyre-Guitar”, in Soundboard XIV/4
     
    An article commissioned by Vladimir Bobri for the Guitar Review and arbitrarily rejected by its editors when he lost control of the magazine. Published in his memory. A version truncated by the editors of SB. Deals with the design and development of the lyre- guitar. PP. 235-36 transposed to behind p. 288.

     

  58. 1988 Mar/Apr, “Hommage au Beau Sexe”, in Gitarre & Laute X/2
     
    Full version of the above. In German.

     

  59. 1988 Jan/Feb, “Domingo Prats Diccionario”, in Gitarre & Laute X/1
     
    An article based on Ophee’s Introduction to the facsimile reprint of this book. Also in CG VIII/7. In German.

     

  60. 1988 Feb, “On Meeting Stepán Rak”, in Classical Guitar VI/6
     
    Biography as well as general discussion of what music means to a composer

     

  61. 1988, Spring, “Guitar Chamber Music: Review of a Decade”, in American String Teacher Vol. XXXVIII, No. 2
     
    Argues for the usefulness of chamber music in helping guitarists to survive economically.

     

  62. 1988 Sept/Oct, “Die Bedeutung von Erstausgaben in der Editionspraxis”, in Gitarre & Laute X/5
     
    Using Brian Jeffery’s edition of Giuliani’s Sonata Op. 15 as an example, questions the wisdom of bestowing authority on early editions of works.

     

  63. 1990 May/June, “Möchte der richtige Giuliani bitte aufstehen?!” in Gitarre & Laute XII/3
     
    Same as article in SB XVII/1. In German.

     

  64. 1990 March, “Prat’s Diccionario”, in Classical Guitar VIII/7
     
    Introduction to and background on the Diccionario, including a breakdown into four major areas discussed within it. Taken from the Introduction to the Orphée reprint.

     

  65. 1990 Oct, “Antoine de L’Hoyer (1768-?1836): autore dell’Op.83 di Giuliani”, in Il Fronimo XVIII/73
     
    Discussion similar to that in SB XVII/3, focusing on the L’Hoyer exercises vs. the Giuliani preludes. In Italian.

     

  66. 1990 Fall, “Antoine de l’Hoyer (1768-1836?): A Detective Story and Check List of his Works”, in Soundboard XVII/3
     
    Establishes some facts about the obscure composer and gives a preliminary checklist of his works.

     

  67. 1991 Sept, “The Importance of Transcription”, in Classical Guitar X/1
     
    Discusses need to be able to provide evidence to support one’s transcriptions.

     

  68. 1991 Aug, “On the Provenance of the Ten Etudes by Giulio Regondi”, in Classical Guitar IX/12
     
    Slight revision of Ophee’s introduction to the Orphée first edition of the etudes.

     

  69. 1991 Dec, “The Musical Activity of Boris Perott in Russia”, in Classical Guitar X/4
     
    Translation and annotation of two reviews of Perott’s concerts in pre-Revolutionary Russia

     

  70. 1993 Nov/Dec, “Der Patriarch der russischen Gitarristen: Andrei Osipovich Sychra”, in Gitarre & Laute XV/6
     
    Also appeared in CG XII 4 and 5. In German.

     

  71. 1993 Dec, “The Patriarch of Russian Guitarists—Andrei Osipovich Sychra”, in Classical Guitar XII/4
     
    Part 1 of 2; discusses inherent difference in flavor of Russian vs. Western musical compositions; bio info on Sychra

     

  72. 1993, “Slavic Robin Hoods, or Hoodlums?” in The Orphée Catalogue.
     
    Discusses the pirating of music publications by many Soviet guitarists

     

  73. 1993 Sept/Oct, “Slawische Robin Hoods—oder bloß gemeine Räuber?” in Gitarre & Laute XV/5
     
    Questions of Soviet and Russian guitarists’ ignorance, willful or otherwise, of international copyright. In German.

     

  74. 1993, “Who Needs Another Guitar Magazine?” in The Orphée Catalogue.
     
    Discusses the need to fill a void in current guitar publications and hopes that a future Orphée project might fill it, giving a mission statement in the process.

     

  75. 1993, “The Story of Yob”, in The Orphée Catalogue.
     
    Discusses Ophee’s own goal in guitar research, including “destruction” of misguided concepts about the guitar.

     

  76. 1993 Apr, “Carcassi Was a Lefty”, in Classical Guitar XI/8
     
    The pitfalls of relying simply on pictorial evidence or on any evidence just because it has been published, particularly as regards the famous alleged portrait of Matteo Carcassi. A revised version of an article originally published in Japanese in Gendai Guitar. The references to Dr. Heck were here removed and the article altered to counter arguments expressed by David McConnell.

     

  77. 1994 Jan, “The Patriarch of Russian Guitarists—Andrei Osipovich Sychra”, in Classical Guitar XII/5
     
    Part 2 of 2; an appraisal of some works by Sychra, including variations on “Not a Single Path in the Field,” and The Four Concert Etudes.

     

  78. 1994 Spring, “Wittgenstein March Fantaisie by Marco Aurelio Zani de Ferranti”, in ComposerUSA, The Bulletin of the National Association of Composers, U.S.A., Series III, Vol.5/2.
     
    Full text of the preface to the edition of the piece first published in the 1993 Orphée Catalogue. Included a short blurb on Matanya Ophee written by ComposerUSA editor Charles Dvorak.

     

  79. 1994 July, “Andrei Osipovich Sychra”, in Gendai Guitar XXVII/350
     
    discusses concert etudes; includes edition for 6-string guitar of “Not a Single Path in the Field”. In Japanese.

     

  80. 1994 July, “Domingo Prat y su Diccionario de Guitarristas”, in El Encordado, Nº 7/1994.
     
    The preface to the Orphée reprint of this book. In Spanish. (Translated by Concha Alborg.)

     

  81. 1994 Oct, “Music Typesetting Systems for Guitarists”, in Classical Guitar XIII/2
     
    Provides a list of questions that composers should ask themselves before deciding on a system; particularly discusses the wonders of SCORE (without ignoring some of its problems).

     

  82. 1995 Jan, “The Precise Intentions of Heitor Villa-Lobos for the ending of his Etude No. 2”, in Gendai Guitar XXIX/357
     
    In Japanese. Also in English in CG XIII/9.

     

  83. 1995 Feb, “The Precise Intentions of Heitor Villa-Lobos for the ending of his Etude No. 2”, in Gendai Guitar XXIX/358
     
    part 2. In Japanese.

     

  84. 1995 Mar/Apr, “Wie endet sie? Anmerkungen zu Heitor Villa-Lobos’ Etude No. 2”, in Gitarre & Laute XVII/2
     
    In German. Also in English in CG XIII/9.

     

  85. 1995 May, “How Does It End?” in Classical Guitar XIII/9
     
    re the “precise intentions of Heitor Villa-Lobos for the ending of his Etude No. 2.” Looks at various ways to determine this, including opinions of teachers, various recordings, and some fragments from various editions.

     

  86. 1995 Mar, “The Premiere Performance of Heitor Villa-Lobos’ Preludes”, in Gendai Guitar XXIX/359

     

    see CG XIII/10. In Japanese.

     

  87. 1995 Mar, “Die Urauffürung der “Préludes” von Heitor Villa-Lobos”, in Gitarre & Laute 3/1995.
     
    see CG XIII/10. In German.
     
  88. 1995 June, “The Premiere Performance of Villa-Lobos’ Preludes” Classical Guitar XIII/10
     
    Whether or not Carlevaro did premiere the Preludes, and whether it was all or few; why Segovia did not premiere them.
     
  89. 2002, “Sor and the Russians” in: Estudios Sobre Fernando Sor/Sor Studies, Luis Gásser, (ed.), Música Hispana, Publicaciones del Instituto Complutense de Ciencias Musicales, Madrid, 2002.
    90.  
    Examines the available evidence on the relationship between Fernando Sor and Andrei Sychra, Mikhail Vysstotsky and Vladimir Morkov. Presents some hitherto unknown details about Sor's public and private appearance in Russian venues during his sojourn there (1823-26/7).
     
  90. 2005, “A History of Transcriptions of Lute Tablature from 1679 to the Present” in: The Lute, Journal Of the Lute Society
    91. , Volume XLIII, 2003, Guilford, 2005.

    Musical editions published in periodicals:

     

  91. 1981 Nov, Fantasy on “Les Folies d’Espagne,” Op.12; Soundboard VIII/4
     
    Annotation and edition of de Fossa’s piece

     

  92. 1982 Spring, “Rondo Allegro,” by F. Molino; Soundboard IX/1
     
    Annotation and edition of the piece. Discusses the relationship of Molino’s use of the theme of Das Klinget So Herrlich from Mozart’s Die Zauberflöte, to its use by Fernando Sor and others.

     

  93. 1982 Fall, “Variations of Carnival de Venice” by N. Makaroff; Soundboard IX/3
     
    Annotation and edition of the piece.

     

  94. 1982 Sept/Oct, Variationen uber “Carnaval de Venice” von Nikolai Petrovich Makaroff; Gitarre & Laute IV/5,
     
    Annotation and edited facsimile of the piece. In German.

     

  95. 1982 Summer, “Piccolo Fantasia,” by Ivan Smertseevich Ovsianiko-Kulikovski; Soundboard IX/2
     
    As Shutka O. Yerundovski (a fictitious persona created jointly with George Warren). Annotation and “critical edition” of the piece.

     

  96. 1987 Fall, “Lyrische Suite” by Rudolf Süss; Soundboard XIV/3
     
    Annotation and edition of the piece.

     

  97. 1987-88 Winter, “Al atardecer en los jardines de Arlaja” by Carlos Pedrell: Soundboard XIV/4
     
    Annotation and edition of the piece.

     

  98. 1988 Spring, “Grand Polonaise,” by Jan Nepomucen Bobrowicz; Soundboard XV/1
     
    Annotation and edition of the piece.

     

  99. 1988 Summer, Miscellany; Soundboard XV/2
     
    Annotations/editions of miscellany: Ohcawara: Prelude; Kárpáti: Ungarisches Lied; Mozzani: élans du coeur; Bischoff: Susani; Segovia: Vidalita.

     

  100. 1988 Fall, “Nevicata” and “Imitando L’Arpa” by Benvenuto Terzi; Soundboard, XV/3
     
    Annotation and edition of the piece.

     

  101. 1988-89 Winter, “Troisieme Duo” by DON*** Soundboard XV/4
     
    Annotation and edition of the piece.

     

  102. 1989 Spring, Soundboard Guitar Quiz; Soundboard XVI/1
     
    First ever (and also last...) Quiz, with readers asked to provide title, composer, all other relevant info. Readers cautioned that “the apocryphal Ovsianiko-Kulikovsky” is not the author.

     

  103. 1989 Summer, “Zweite Lyrische Suite” by Rudolph Süss; Soundboard XVI/2
     
    Annotation and edition of the piece.

     

  104. 1989-90 Winter, “Toccata y Lamento” by Roberto Sierra; Soundboard XVI/4
     
    Annotation and edition of the piece; also Quiz results (“Partita im alten Stil fur die Laute” by Heinz Bischoff, identified by Jan Holmberg of Partille, Sweden)

     

  105. 1990 Spring, “Will the Real Mauro Giuliani Please Stand Up?”; Soundboard XVII/1
     
    Brief article discussing authorship of Giuliani’s Op. 83 by Antoine de l’Hoyer. Includes Exercises 4 and 5 from l’Hoyer’s Op. 27.

     

  106. 1990 Summer, “Etude” by Nikolai Alexandrov; Soundboard XVII/2
     
    Annotation/question and edition of the piece.

     

  107. 1990 Fall, “Tarantella” by Alexandr Mikhailovich Ivanov-Kramskoi; Soundboard XVII/3
     
    Annotation and edition of the piece.

     

  108. 1991 Summer, “Airs et Variations” by Athénaïs Paulian; Soundboard XVIII/2
     
    Annotation and edition of the piece based upon themes popular in the early 19th century, including Das Klinget So Herrlich.

     

  109. 1991 Winter, “Ständchen fur 3 Gitarren” by Elsa Just; Soundboard XVIII/4
     
    Annotation and edition of the piece.

     

  110. 1991 Spring, “Svetlana’s Lullaby” by Tikhon Khrennikov; Soundboard XVIII/1
     
    Annotation and edition of the piece.

     

  111. 1991 Fall, “In Defense of Luigi Rinaldo Legnani”; Soundboard XVIII/3
     
    Annotation and edition of Scherzo op. 10 by Legnani for one finger of the l.h. alone. Deals with the legend of the alleged Legnani/Paganini relationship.

     

  112. 1992 Winter, “The Spinster” by Mikhail Timofeevich Vyssotsky; Soundboard XVIII/4
     
    Annotation and edition of the piece.

     

  113. 1992 Spring, “Desert Winds” by John Gordon Armstrong; Soundboard XIX/1
     
    Annotation and edition of the piece, with composer’s comments on the work.

     

  114. 1992 Summer, “The Post” by Marek Sokolovski; Soundboard XIX/2
     
    Annotation, with biographical info on the composer, and edition of the piece, plus mea culpa re The Spinster.

    Interviews:

     

  115. 1991, Sept. “Znakom'tes': Matanya Ophee.” (Meet Matanya Ophee) in Muzykal'ny Zhurnal Gitary. Nº 1.
     
    Interviewed by Irina Bel'skaia. In Russian. This short lived magazine never saw another issue. I wonder why . . .

     

  116. 1993 Jan/Feb, “Drei Romane von Agatha Christie und amerikanischer Rock’n Roll”, in Gitarre & Laute XV/1
     
    Interviewed by Peter Päffgen for G&L; discusses controversial writings, Segovia, Russian guitar music, recent publications. In German.

     

  117. 1994 July, “Special Interview with Matanya Ophee”, in Gendai Guitar XXVII/350
     
    Interview by Jun Sugawara and Seiichi Nakazato. In Japanese. Includes a snazzy cover photo!

    Prefaces and Introductions to musical editions:

     

  118. 1981, Eli Magen, Theme and Variations,
     
    Brief description of Ophee’s relationship to Magen with biographical information on Magen.

     

  119. 1981, Beethoven-Matiegka, Serenade Op. 8.
     
    Discusses the provenance of the piece, Beethoven’s possible awareness of its existence. Describes the editorial methodology used in preparing the edition.

     

  120. 1983, Editor’s Preface Emilio Pujol, Guitar School,
     
    Historical and biographical commentary on Pujol and on the guitar. Annotations to Pujol’s text.

     

  121. 1984, Introduction: François de Fossa, Trio Concertante, ed. Margarita Mazo
     
    Biographical and historical background on de Fossa and the trio.

     

  122. 1984, Introduction: Johann Padowetz, Concert Variations on The Carnival of Venice, ed. Castellani and Andriaccio.
     
    Biographical and historical background on Padowetz and the variations.

     

  123. 1984, Introduction: Leonhard Schulz, Recollection of Ireland.
     
    Biographical and historical background on Schulz and Irish tunes used as source material.

     

  124. 1984, Introduction: François de Fossa, Overture de Jeune Henri de Mehul ,
     
    Historical notes on the piece.

     

  125. 1984, Introduction: Jan de Bobrowicz, Grandes Variations (Op.6),
     
    Biographical information on Bobrowicz and historical commentary on the piece.

     

  126. 1984, Introduction Jan de Bobrowicz, Distraction Rondeau (op. 17),
     
    Same bio as in op. 6; commentary on editorial methodology.

     

  127. 1986, Introduction: Domingo Prat, Diccionario de Guitarristas,
     
    Discusses the idiosyncrasies of the dictionary and of Prat himself.

     

  128. 1986, Introduction, Historical Notes, and About This Edition: The Russian Collection, vol. 1,
     
    General history of guitar in Russia, with info on scholars and composers/enthusiasts; editorial methodology; biographical info on the composers of the pieces in this volume and some commentary on the pieces themselves.

     

  129. 1989, From the Editor: Music by Soviet Composers (Russian Collection Volume V),
     
    Biographies of the composers and brief discussion of the edition

     

  130. 1990, About François de Fossa: Selected Works for Guitar Solo (Oevres Choisies pour Guitare Seule)
     
    Biographical info and brief commentary on each of the pieces in the edition. English and French texts.

     

  131. 1990, Editor’s Preface: The Orphée Database of Guitar Records
     
    Philosophy and editorial technique of the database.

     

  132. 1990, On the Provenance of the Ten Etudes by Giulio Regondi: Giulio Regondi, Ten Etudes for Guitar
     
    Historical background and evidence supporting Regondi’s authorship of the etudes.

     

  133. 1991, Editor’s Preface: The Orphée Database of Guitar Records, 1991 Supplement,
     
    Editorial philosophy behind the database and its supplement.

     

  134. 1991, [Introduction] Edmund Jurkowski, Esztergomia,
     
    Jurkowski’s connection to Ophee, and his sudden death.

     

  135. 1992, Introduction, About this Edition: Andrei Sychra, Four Concert Etudes (Russian Collection Volume II),
     
    Biography of Sychra, historical commentary on the etudes, and performance discussion.

     

  136. 1992, A Word from the Publisher: Richard Pick, School of Guitar, vol.1,
     
    Discusses psychological aspects of teaching, Pick’s own approach, and some editorial matters of the book.

     

  137. 1992, Editor’s Preface: Boris Asafiev, Music for Guitar Solo (Russian Collection Volume VI)
     
    Asafiev’s relationship to the guitar and commentary on the manuscripts and editorial procedures.

     

  138. 1993, A Word from the Publisher: The Orphée Catalogue
     
    Describes purpose of including articles in the catalogue and future projects of Editions Orphée.

     

  139. 1993, Introduction to Nocturne by Vasilii Sarenko. The Orphée Catalogue,
     
    Brief note on the arrangement for 6-string guitar, dedicated to Leif Christensen.

     

  140. 1993, Introduction to Wittgenstein March Fantaisie by Marco Aurelio Zani de Ferranti, The Orphée Catalogue
     
    Biographical information on Ferranti and historical information on the cultural life of St. Petersburg and on the piece.

     

  141. 1993, Same as above. Reproduced in American Composer, edited by Charles Dvorak.

     

  142. 1994, Introduction: Music by St. Petersburg Composers for Classical Guitar (Russia, Collection vol. 4)
     
    Detailed biographical info and commentary on the pieces, much of it on Asafiev, Prelude et Valse.

     

  143. 1994, Editor’s Preface: Sergei Rudnev, Russian Folk Songs for classical guitar (Russian Collection Volume III)
     
    Discusses the genesis of this edition and of the folk songs which it emulates.

     

  144. 1994, Introduction: Frédéric Chopin, Eight Mazurkas, arr. Bobrowicz/ed. de Kloe,
     
    Brief discussion of Chopin’s version and historical commentary on the Bobrowicz arrangements.

     

  145. 1995, Editor’s Preface: Domingo Prat, Tangos de la Guardia Vieja
     
    Historical commentary on Prat and the tangos.

     

  146. 1995, On the provenance of the Ten Etudes by Giulio Regondi, II: Giulio Regondi, Ten Etudes for Guitar: A Critical Edition,
     
    Commentary on the new edition, which is based upon the MS itself rather than the photocopy upon which the 1990 edition was based, with information on the several layers of writing on the MS. Identifies Ivan Klinger as the scribe who wrote it.

     

  147. 1996, Introduction: Fernando Sor, The Complete Studies for Guitar,
     
    Fernando Sor . . . Historical background and critical commentary. In the Chanterelle edition of the Sor Etudes.

    Festival Reviews:

     

  148. 1981, October, “Esztergom Festival”, in Guitar and Lute magazine No. 19
     
    Festival impressions, concert reviews, description of Cotsiolis playing the Red Queen guitar.

     

  149. 1984 December “Guitar ’84” in Guitar International XIII/5
     
    The Toronto festival: overemphasis on Canadian guitarists, no invitations to those the festival claims to have “launched;” favorable review of performance by Sakellariou of Somers and Brouwer concerti but less favorable treatment of several other concerts.

     

  150. 1984 Sept, “The Esztergom Guitar Festival 1983”, in Classical Guitar III/1
     
    Overall favorable, esp. about Szendrey-Karper and Wolfgang Lendle.

     

  151. 1984 Dec, “On Hearing Yamashita” in Gendai Guitar XVIII/226
     
    Review of Yamashita’s concert at the Toronto Festival in 1984.

     

  152. 1984 Jan/Feb, Gitarre & Laute VI/1
     
    Review of the Esztergom festival. Discusses meeting with Soviet Guitarists. In Japanese.

     

  153. 1987 Fall, “Toronto Report”, in Soundboard XIV/3
     
    Original title: Who is Afraid of Kazuhito Yamashita? (re-titled, somewhat truncated and modified by the editor.) Review of the Toronto Festival 1987; disappointment w/ John Williams.

     

  154. 1987 Spring, “The Chivalrous Poles”, in Soundboard XIV/1
     
    First International Guitar Festival and Competition in Tychy.

     

  155. 1987 Jan, “The First American Classical Guitar Conference”, in Classical Guitar V/5
     
    Highlights of the festival were the performance by Fisk and Karr of the Schubert Arpeggione Sonata and Starobin’s concert; on the whole found the festival to be lackluster in programming.

     

  156. 1987 Sept/Oct, “Who is afraid of Kazuhito Yamashita?” in Gitarre & Laute IX/5
     
    Review of Toronto 1987; discusses the various concerts, including those of Williams, and Victoria de Los Angeles with Ichiro Suzuki. Full version of the “Toronto Report” in SB. In German.

     

  157. 1988 Spring, “Esztergom 1987”, in Soundboard XV/1
     
    Positive overall review of the festival, focusing on current Soviet guitar and on Stepán Rak

     

  158. 1989-90 Winter, “Czeslaw’s Dream”—a Polish Travelogue”, in Soundboard XVI/4
     
    Report of the Fifth Krakow Festival, positive overall.

     

  159. 1991 Winter, “Poland: The Tychy Festival”, in Soundboard XVIII/4
     
    Highlights of the festival, especially performances by Alexei Zimakov of Siberia.

     

  160. 1991 July/Aug, “Reisebericht aus dem Osten”, in Gitarre & Laute XIII/4
     
    Review of festivals in Moscow and Kraków; also printed in SB XVIII/2. In German.

     

  161. 1991 Sept/Oct, “Reisebericht aus dem Osten”, in Gitarre & Laute XIII/5
     
    Conclusion of article, including review of Gdansk festival; also printed in SB XVIII/2. In German.

     

  162. 1991 Summer, “An Eastern Travelogue”, in Soundboard XVIII/2
     
    Includes but is not limited to reviews of Krakow and Gdansk festivals.

     

  163. 1992 Winter, “G.B.I.S.S. august 10-18, 1991”, in Soundboard XVIII/4
     
    Overall positive review of the Garcia-Biberian summer courses, esp. of Jonathan Leathwood’s concert.

    Letters To The Editor:

     

  164. 1976 Nov, Soundboard III/4
     
    Re: Warren, “The Devil’s Advocate”; Segovia alleged authorship of the “Giga Melancholica” by Froberger.

     

  165. 1979 July, Guitar, VII/10
     
    re Roberts’ reply to MO’s last letter; questions of musical skill and of teaching

     

  166. 1979 Aug, Cripes, it’s Stinker Duarte again! Guitar, VIII/1
     
    Makes public a reply to a personal letter from Duarte. Continues prior debate. (Title of LTTE originated by the editor of the magazine, George Clinton.)

     

  167. 1979 May, Grateful, Guitar, VII/8
     
    re the Roberts/Duarte debate in the Opinion section; matters of music and of teaching.

     

  168. 1979 Aug, Soundboard VI/3
     
    re: Mertz arrangement of Schubert “Standchen”.

     

  169. 1979 Mar, Lute Tunings, Guitar VII/8
     
    re Quine’s and questions of tuning and use of capo.

     

  170. 1981 Nov, Polemic, Soundboard VIII/4
     
    Debates the importance of seeking historical fact vs. expressing only favorable opinions of other scholars’ work in guitar research as a means to be taken more seriously.

     

  171. 1981 Aug, Polemic, Soundboard VIII/3
     
    Reply to David Leisner re his scholarship.

     

  172. 1981 Aug, Soundboard VIII/3
     
    re: David Marriott, “The Contemporary Guitar” (Schönberg, planting, Spanische guitarre)

     

  173. 1981 Nov, Polemic, Soundboard VIII/4
     
    re: David Marriott and the Spanische guitarre, classical guitar nomenclature, etc.

     

  174. 1982 Fall, Soundboard IX/3
     
    re Provost’s edition of Bach’s Fourth Lute Suite.

     

  175. 1982 Fall, Soundboard IX/3
     
    (as F.A. Pollack) re the “Yerundovski” edition of Ovsianiko-Kulikovski.

     

  176. 1982 Summer, Polemic, Soundboard IX/2
     
    re David Marriott’s review of Brian Jeffery’s Aguado edition (New Method), and Marriott on planting.

     

  177. 1982 July, Il Fronimo X/40
     
    a response to Gilardino’s article in #38 on historical research in the guitar field.

     

  178. 1982 Mar/Apr, “Wer schrieb ‘La Sentinelle?’ ” Gitarre & Laute IV/2
     
    response to Meinolf Fritzen, who had been working on the same question; mentions necessity of looking at primary sources rather than relying on third-hand reference works.

     

  179. 1982 Sept/Oct, Classical Guitar I/1
     
    congrats on your new magazine.

     

  180. 1982 Summer, Polemic, Soundboard IX/2
     
    re David Leisner’s performing editions vs. those preferred by what Ophee considers serious musicians

     

  181. 1982-83 Winter, Soundboard IX/4
     
    re the Christian-oriented seminar at the GFA convention in Denver.

     

  182. 1983 Dec, Guitar XII/5
     
    re Gerald Rebours’ reply to MO’s letter on re-entrant tuning; stands corrected as to the Carré book, but responds to other points in the article (Diderot, Lemoine, Sanz, Corbetta).

     

  183. 1983 July/Aug, Classical Guitar I/6
     
    re Leisner’s comments on the review of Ziffrin.

     

  184. 1983 May/June, Classical Guitar I/5
     
    Comments on reviews of Orphée’s Boccherini, Bach Sinfonia, and Franck.

     

  185. 1983 Aug, Guitar XII/1
     
    re Leisner’s editions of Mertz and the article in SB proving that the Fantasie Hongroise WAS not the prize winner at the Makaroff competition.

     

  186. 1983 Spring, Polemic Ophee to Marriott—Final Round, Soundboard X/1
     
    In defense of Ophee’s “amateur” status

     

  187. 1983 Aug, Guitar XII/1
     
    re Sarah Clarke’s review of “The Guitar before 1883;” debate over re-entrant tuning, and Bailes’ borrowing of MO’s article on apoyando in G&L.

     

  188. 1984 Apr, Guitar XII/9
     
    re Rebours’ recent letter calling for increased communication between scholars; more debate on re-entrant tuning.

     

  189. 1984 June, Research, Guitar XII/11
     
    Applauds José Romanillos’ article on Aguado and makes point that Spanish researchers are in a better position than all others to explore the guitar’s Spanish heritage.

     

  190. 1984 Oct, Theodore Norman, Guitar International XIII/3
     
    Debunks Norman’s theories of fingering, and encourages the guitar world to learn to read music and not just fingerings.

     

  191. 1984 Oct, Monica Hall, Guitar International XIII/3
     
    response to Hall’s letter discussing re-entrant tuning, the bourdon, and Ruiz de Ribayaz.

     

  192. 1984 Nov, Murphy’s Law, Guitar International XIII/4
     
    more discussion of tuning matters, including those of Corbetta’s discussion of strings, and response to Gammie’s letter.

     

  193. 1984 Dec, Toma(y)to Tomato, Grenada Granada, Guitar International XIII/5
     
    re Mary Criswick’s discussion of Simon Wynberg’s edition of the de Fossa trios for Chanterelle.

     

  194. 1985 Jan, Scientific evidence etc. Guitar International XIII/6
     
    continues debate with Monica Hall over use of two bourdons on a baroque guitar, concluding that we simply do not have enough information to reach a definite conclusion.

     

  195. 1985 Feb, Classical Guitar III/6
     
    re Leisner, Mertz, and CG’s review by Steve Marsh.

     

  196. 1985 April, Classical Guitar III/8
     
    re Hambleton’s review of the Flint songs and the question of facsimile.

     

  197. 1985 May, Giuliani, Guitar International XIII/10
     
    responds to Victor Bougaardt’s letter accusing MO of “ravings” by reminding him that the discussion of the Giuliani was meant to be a general discussion of facsimiles; describes the complete works as “an authentic reproduction of xerox copies.”:

     

  198. 1985 June, Matanya’s Toronto Guitar International XIII/11
     
    response to those who were unhappy with his review of the Toronto Festival.

     

  199. 1985 July, Classical Guitar III/11
     
    re Steve Marsh’s reply to his letter about documentation of Mertz and the Makaroff competition, incl. an example of the infamous Paganini-Legnani story.

     

  200. 1985 Oct, Il Fronimo XIII/53
     
    response to questions of authorship of some works of Giuliani, dealing specifically with the Serenade, Op.54bis, assumed by Bruno Tonazzi to be by Giuliani. Proves it is actually by Leonhard von Call. In Italian.

     

  201. 1985 Dec, Classical Guitar IV/4
     
    re Terry Spooner/ the supposed existence of a guitar concerto by Cyril Scott performed in 1918 by Segovia.

     

  202. 1985-86 Winter, More Mauro, Soundboard XII/4
     
    re Jeffery’s Complete Giuliani, the Schwarz-Reiflingen theory of Carulli’s paternity of the 12 Progressive Studies, etc.

     

  203. 1986 March, Ophee/Stenstadvold, Guitar International XIV/8
     
    response to Stenstadvold’s assertion that “we have not done our homework.” a truncated version of the LTTE now published in this on line magazine.

     

  204. 1986 May, Classical Guitar IV/9
     
    re Segovia, large concert halls, and the need for silence.

     

  205. 1986 July, Classical Guitar IV/11
     
    re J.A.D. Freeman’s letter on Sarenko—number of recordings, transliteration, etc.

     

  206. 1986 Oct, Nova Giulianiad III/9-10
     
    responds to Bei der Wieden and Moser’s criticisms of his article, again pointing out the need for clear scientific/scholarly thought. In German.

     

  207. 1986 Dec, Classical Guitar V/4
     
    re Duarte’s letter concerning Segovia and the “Giga Melancholia” of Froberger.

     

  208. 1986 Dec, Classical Guitar V/4
     
    re Kilvington’s review of Carulli’s “La Giraffe á Paris”.

     

  209. 1987 Jan, Classical Guitar V/5
     
    rebuttal to Wade; dissects one paragraph by Wade from his book to demonstrate the need to investigate sources considered to be “primary”.

     

  210. 1987 March, Classical Guitar V/7
     
    Takes Rudolph Wangler to task for both his arrangement of and preface to Sor’s “l’Encouragement” for flute and guitar.

     

  211. 1987 Nov/Dec, PS: Erwiderung auf einen Leserbrief, Gitarre & Laute IX/6
     
    response to Lex Eisenhardt’s comments on the Romantische Gitarrenmusik series. In German.

     

  212. 1987 June, Classical Guitar V/10
     
    Praises José Romanillos’ article on the Jacquemart-André vihuela and suggests that Federico Cook’s and Wolf Moser’s articles on the same subject be translated and published, with commentary by Romanillos.

     

  213. 1987-88 Winter, Soundboard XIV/4
     
    re Duarte, “Which Way Shall We Go?”

     

  214. 1988 Jan, Classical Guitar VI/5
     
    Agrees with Wade that neither may be pigeonholed as a “romantic” or “academic”.

     

  215. 1988 Feb, Classical Guitar VI/6
     
    Rebukes Stenstadvold for his response to Ophee’s response to Stenstadvold’s criticisms of Ophee’s articles on 19th century performance. (doesn’t end there...)

     

  216. 1988 May/June, Gitarre & Laute X/3
     
    response to Horst Klee’s comments on “Who is afraid of Kazuhito Yamashita?”; Klee misunderstood both the title and the article.

     

  217. 1988 Summer, Soundboard XV/2
     
    A truncated and edited version of an article titled “The Force of Blandiloquence”, a defense of Yamashita’s transcription of Pictures following George Clinton’s accusations of double-tracking on the recording.

     

  218. 1988 Summer, Soundboard XV/2
     
    re Duarte’s “Careers” in IX/3—reporting of lower prizes than first; Koshkin and Farago split second in Esztergom.

     

  219. 1988 Sept/Oct, Gitarre & Laute X/5
     
    response to Maria Lord, who found his comments on Britten, Tippett and Bream in “Who’s afraid . . .” to be “unsuitable;” remarks about questioning authorities.

     

  220. 1988 Fall, Soundboard XV/3
     
    re Duarte’s reply to Ophee’s letter in XV/2—use of pseudonyms on music submitted for competition.

     

  221. 1988 Fall, Soundboard XV/3
     
    reply to Clinton’s letter in same issue—points out examples of Clinton’s problems with Yamashita as probably related to business matters.

     

  222. 1988 Fall, Soundboard XV/3
     
    re Robert Luse’s article on amplification.

     

  223. 1988 Nov/Dec, Gitarre & Laute X/6
     
    response to Eliot Fisk’s comments on MO’s remarks concerning Britten’s Nocturnal and Julian Bream in the Toronto review. In German.

     

  224. 1989 Spring, Soundboard XVI/1
     
    corrections to misprinted text of letter in XV/3 re Luse.

     

  225. 1989 May, Classical Guitar VII/9
     
    re decision not to publish Vyssotsky’s “Spinster” due to Perott’s prior publication.

     

  226. 1989 Nov, Classical Guitar VIII/3
     
    re Kerstens discussion of the new Contreras resonator/it not truly being a new idea.

     

  227. 1990 July, Classical Guitar VIII/11
     
    LTTE Discussion of Fisk’s use of imagery in performing Sor’s Fantasie Elégiaque, with clarification as to who Charlotte Beslay was, when she died etc..

     

  228. 1990 Fall, Old Wine in New Bottles, Soundboard XVII/3
     
    Stenstadvold’s presentation on Sor’s Op.9 (Mozart Variations), and general tendencies of guitar scholars to ignore secondary literature on topics.

     

  229. 1990 Aug, Classical Guitar VIII/12
     
    Providing additional clarification in the debate btwn. Freeman and Duarte as to Perott’s professional status in Russia.

     

  230. 1990 Sept, Classical Guitar IX/1
     
    re the Wulfin Lieske interview, involving his remarks on Sor and Giuliani.

     

  231. 1990 Fall, The Russian Cover, Soundboard XVII/3
     
    re the cover of XVII/2, which was by V.A. Tropinin and depicted a guitar by I. Ya. Krasnoshchekov.

     

  232. 1991 Spring, Reply to Stenstadvold, Soundboard XVIII/1
     
    Reply to his letter defending his presentation at GFA Pasadena.

     

  233. 1991 Apr, Il Fronimo XIX/75
     
    takes up issues raised by various responses to his article on l’Hoyer. In Italian.

     

  234. 1991 May, Classical Guitar IX/9
     
    Defending pricing of editions and discussion of the problems faced by small independent publishers.

     

  235. 1991 July, Il Fronimo XIX/76
     
    more issues raised by responses to the L’Hoyer article, including separately responses to Riboni, Gilardino, and Dell’Ara. In Italian.

     

  236. 1991 July, Classical Guitar IX/11
     
    Response to Wade’s letter re the Orphée Database--it was never meant to be a historical document.

     

  237. 1991 Summer, Koshkin Insights, Soundboard XVIII/2
     
    re the Lemoine and Orphée editions of Koshkin’s “Les Elfes”.

     

  238. 1991 Sept, Classical Guitar X/1
     
    re Mikulka’s recordings from the Orphée catalogue.

     

  239. 1991 Oct, Classical Guitar X/2
     
    re more of Wade’s defense of Segovia, in this case his flight from Spain and his 1947 recording.

     

  240. 1991 Nov, Classical Guitar X/3
     
    response to Wade’s latest letter re the Database: takes him to task for his comments. “ Used car” comment.

     

  241. 1991 Nov/Dec, Gitarre & Laute XIII/6
     
    response to Thomas Vogt’s comments on the festival reviews regarding facial grimaces by Dale Kavanaugh. In German.

     

  242. 1991 Dec, Classical Guitar X/4
     
    re Wade’s August article.

     

  243. 1992 Jan, Il Fronimo XX/78
     
    response to Riboni’s criticism’s of the Regondi etudes. In Italian.

     

  244. 1992 Winter, Soundboard XVIII/4
     
    re Garth Baxter’s review of the Beethoven-Matiegka Serenade, op. 8, in XVIII/2.

     

  245. 1992 Winter, Soundboard XVIII/4
     
    re Beverly Maher’s letter regarding boycott of concert presenters who do not present equal numbers of women guitarists.

     

  246. 1992 May, Classical Guitar X/9
     
    re March letter from Mr. Magil; heated disputes are a hallmark of musicological research.

     

  247. 1992 Nov/Dec, The High and the Mighty, Gitarre & Laute, XIV/6
     
    Responds to the accusation that he is a “John Wayne musicologist” through use of the Regondi etudes. In German.

     

  248. 1993 Jan, Il Fronimo XXI/82
     
    response to Rizza’s criticism of the L’Hoyer article; refers to MO trip to the Glinka museum. In Italian.

     

  249. 1993 March, Classical Guitar XI/7
     
    re January editorial; problems of composers publishing their works, esp. with small companies that cannot provide as many resources for ads, etc.

     

  250. 1993 July, Classical Guitar XI/11
     
    re Paul Fowles’ review of Loli’s recording of the Caprichos de Goya Op. 195 by Castelnuovo-Tedesco, which was actually recorded first by Yamashita.

     

  251. 1993 Oct, Classical Guitar XII/2
     
    re McConnell’s response to the article on Carcassi; explains to McConnell that the burden of proof now lies with him.

     

  252. 1993 Sept/Oct, Gitarre & Laute XV/5
     
    re interview with Oscar Ghiglia; Giga Melancholica. In German.

     

  253. 1993 Nov, Classical Guitar XII/3
     
    re Richard Hand’s review of the Dodgson Sonata for Three—clarification as to its origins.

     

  254. 1994 Apr, Classical Guitar XII/8
     
    re difficulties of authentication, between the work of the composer, engraver, and publisher.

     

  255. 1994 July, Classical Guitar XII/11
     
    re Zbigniew Dubiella’s letter to CG which mentioned MO’s piece in SB on Sokolowsky; question of Sokolowsky being Polish or Jewish.

     

  256. 1995 Jan/Feb, Gitarre & Laute XVII/1
     
    response to Peter Pieters’ article “Das klinget so Herrlich;” includes text of letter to Ruggero Chiesa. Pieters’ work duplicated much of MO work re “La Sentinelle” and the lyre-guitar, without credit or acknowledgement. In German.

     

  257. 1995 June, Classical Guitar XIII/10
     
    re the Jonathan Richards recording of the Canzona by Vladimir Slavsky, actually a Canción y Danza no. 6 by Mompou.

     

  258. 1995 Sept/Oct, Gitarre & Laute XVII/5
     
    response to Leonhard Beck-Neuwirth; re the Villa-Lobos preludes and Raul Rodriguez Arias. In German.

     

  259. 1995 Sept/Oct, Gitarre & Laute XVII/5
     
    response to Pieters’ reply to the LTTE of XVII/1; believes Pieters to have committed scholarly misconduct. In German.

     

  260. 1996 Feb, Classical Guitar XIV/6
     
    re Fowles’ review of Voronezh Festival and his discussion of Lendle’s Variations—they aren’t just highly technical but are also “one of the funniest parodies” for guitar out there.

     

  261. 1996 May, Classical Guitar XIV/9
     
    re Robert Spencer’s review of the Johnson edition—clarification as to some matters and discussion of ornamentation.

     

  262. 1996 June, Classical Guitar XIV/10
     
    re Cooper’s review of the Carulli thematic catalogue, and demand of apology for omitting the name of its author, Dr. Mario Torta.

     

  263. 1996 November, Classical Guitar XV/3
     
    re Chris Kilvington’sd review of Ricardo Cobo’s recording of our edition of the Koshkin Usher Waltz. Disputes CK’s claim that John Williams plays the piece faster than anybody else and points out that in a concert in Columbus, OH he dropped several bars from the piece.

     

  264. 1996 November, Classical Guitar XV/3
     
    re Arthur Ness’ letter in XV/2, sent in reaction to my clarifications to Spencer’s review in XIV/9. Sets the history of the Monuments of the Lutenist Art series.

    Obituaries:

     

  265. 1989 Aug, Edmund Jurkowski, Classical Guitar VII/12
     
    Remembrance (with several by other authors in the same column)

     

  266. 1989 Summer, Edmund Jurkowski (1935-1989), Soundboard XVI/2
     
    Obituary of the composer.

    Reviews:

     

  267. 1981 April, Johann Kaspar Mertz: Four Guitar pieces edited by David Leisner, Guitar and Lute magazine No. 17
     
    Caustic criticism of Leisner’s editorial methodology.

     

  268. 1982 Spring, Andrés Segovia, by M.A. Vaisbord Soundboard IX/1
     
    Feels Vaisbord perhaps not objective enough about the subject matter but finds the book valuable for emphasizing the Segovia-Russia connection. Includes translation of text by Lunacharski about Segovia playing Bach, used by Graham Wade in his book on Bach, without credit.

     

  269. 1982-83 Winter, The Classical Guitar (Summerfield) and Classical Guitar Companion (McCreadie), Soundboard IX/4,
     
    “Distortions of history” encountered in the two books; photos are good.

     

  270. 1983, Guitar Review 53
     
    Review of Summerfield’s The Classical Guitar and McCreadie’s Classical Guitar Companion—both rather unfavorably. Shorter version of the SB review.

     

  271. 1991 Mar/Apr, “Neues uber Caspar Joseph Mertz” in Gitarre & Laute XIII/2
     
    Review of Astrid Stempnik’s biography of Mertz. In German. Also printed in SB XVIII/1.

     

  272. 1991 Spring, Stempnik on Mertz, Soundboard XVIII/1
     
    Lots of good new info but she could have been more careful with her material.

     

  273. 1992 Jan, La Tesi di Astrid Stempnik su Johann Kaspar Mertz, Il Fronimo XX/78
     
    Italian translation of SB XVIII/1.

     

  274. 1996 Sept, Jeffery’s Fernando Sor, Composer and Guitarist Revisited, Classical Guitar XV/1
     
    Lengthy criticism of Jeffery’s second edition, claiming it is no great improvement over the original scholarship. An exceprt from the full version in this on line magazine.

     

  275. 1997 March, “B. Jeffery’s Fernando Sor, A Critical View of the Second Edition.” Part 1, translated by Jun Sugawara. Gendai Guitar Nº 385.

     

  276. 1997 April, “B. Jeffery’s Fernando Sor, A Critical View of the Second Edition.” Part 2, translated by Jun Sugawara. Gendai Guitar Nº 386.

     

  277. 1997 May, “B. Jeffery’s Fernando Sor, A Critical View of the Second Edition.” Part 3, translated by Jun Sugawara. Gendai Guitar Nº 387.

     

  278. 1997 June, “B. Jeffery’s Fernando Sor, A Critical View of the Second Edition.” Part 4, translated by Jun Sugawara. Gendai Guitar Nº 388.
     
    Lengthy criticism of Jeffery’s second edition, claiming it is no great improvement over the original scholarship. Full text, In Japanese.

    Liner notes to sound recordings:

     

  279. The Andriaccio-Castellani Duo. Perform music by Gallés, Scarlatti, Granados, Brouwer and Albeniz. ICARUS 1002. (LP)

     

  280. 1985. Leif Christensen. The Russian Guitar. Works by Vasilli Stepanovich Sarenko. PAULA records. P-40. (LP)

     

  281. 1996. Shin-Ichi Fukuda: Schubertiana. Denon COCO-78978. (CD)

     

  282. 1996. Kazuhito Yamashita: François de Fossa, Works for solo guitar. BMG Victor (RCA Red Seal) BVCC 719. (CD)
Copyright © 1996 by Editions Orphée, Inc., All Rights Reserved.

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