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Newsletter - September 2002
Articles
Eleftheria Kotzia - Workshop & Concert | August meeting | Next meeting | Future meetings | Concert diary | Quote of the month | sEight String Brahms Guitar | Simon Dinnigan Video | Dorset cream tea | Guitar for sale | Stephen's thoughts | Radio Solent | Member's concert | Contact NumbersAugust Meeting
Our August meeting took on a slightly difference format and proved to be very interesting and informative.
We started with our normal orchestral session in which we played through the Derek Hasted Glad Rags and Carrulli’s Trios No 1 & 2 Opus 120.
After an early tea break Stephen volunteered himself to answer any guitar questions that people might have.
Bernadette asked Stephen if he knew the reasons why the guitarist Paul Galbraith adopted the very unusual upright position, similar to that of a cellist. Stephen gave a very comprehensive description of Paul Galbraith’s history and the theory behind his playing technique.
Paul Galbraith performs sitting over a resonance box that amplifies his sound, along with the help of a metal endpin, like a cello's, connected to the bottom of the guitar leading to the box. The sound travels from his guitar down the endpin and out of the box. This position also enables him the use of a completely free right hand without resting it on his guitar at all.
I couldn’t possibly remember all of the details, and finding it all very interesting I did some research on the Internet and have copied it out for you to read as a separate item (see below).
The inevitable question of how to improve our sight-reading cropped up. As this is a guitarist’s nightmare we all waited with bated breath, hoping for some magical solution to our problems. Unfortunately no magic is involved, we have just got to get down to it and do lots and lots. So, put on your sight-reading hat, pick up a pile of music that you have never seen before and get playing. Stephen has written a comprehensive guide to sight-reading, which he has kindly given to us and I have included it as a separate publication.
Elbows were also mentioned, and not the kind that accidentally nudge your neighbour whilst playing. The kind that need to move backwards, forwards and sideways for position changes on your guitar. Unless you are John Williams or the Katonas, (apparently they don’t move their elbows) lesser mortals need to be aware of what position their left elbow needs to be in for ease of playing and more accurate chord changes. If you should wish to make a note on your music, elbow notation is quite simple, just draw an arrow pointing either left or right (for left or right) and up or down (for backwards or forwards).
Strangely enough after all this discussion we still had time for some solos.
Valerie played Study no. 7 by Carcassi, Richard played Opus 29, no. 17 by Sor, Margaret played Study no. 10 by Brouwer, John Played Orlando Sleepeth by Dowland, Rosemary played Ballard by Nuttall, Isabel played Meditation by Nuttall, and Stephen played Maumsbury Rings and Dancing Ledge composed by himself.
Top of pageNext Meeting
The next meeting will take place on 22nd September 2002 at 5.45 p.m. until 9.30 p.m. in the small hall.
Top of pageQuote of the Month
“I don’t play accurately - anyone can play accurately - but I play with wonderful expression. As far as the piano is concerned, sentiment is my forte. I keep science for Life.”
The Importance of Being Earnest, 1895, Act 1
Top of pageFuture Meetings
| October | 20th from 2.00 p.m. to 5.30 p.m. | ||||
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| November | 17th from 2.00 p.m. to 5.30 p.m. | December | 15th from 2.00 p.m. to 5.30 p.m. |
Eleftheria Kotzia - Workshop & Concert
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Eleftheria first played for the DGS in 1985 in Dorchester. A return visit is long overdue so I am delighted that she is able to play for us once again on Saturday 12th October at Kinson. Please spread the word, as we are in for a real treat. Also help by putting up as many posters as you can. They will be available at the next meeting. Although we are doing everything that we can think of on the publicity front, to make events financially viable we really do need to increase our audience size just a tad! The workshop will be the next day, Sunday 13th. This will be an all day ensemble event. Eleftheria (Ellie for short) has sent us some super music. ‘Speak to me’ by Hatzidakis, a Greek Dance and ‘Valse no 1 & 3 by Granados. |
Nothing too difficult or to worry about. All the music will be available in advance. Please can you check your diaries and contact me now by phone or email if you would like to take part in the workshop. By letting me know before the next meeting will save a lot of time and make the job of distributing the parts so very much easier. This will also enable us to give you your music at the meeting. Could you please also remember to bring your cheque books with you for the Sunday meeting as this will be the last meeting before the workshop.
Biography
Eleftheria Kotzia was born in northern Greece. She studied guitar at the National Conservatory in Athens, the Conservatoire Nationale Superieure in Paris, and finally, with support from the British Council and the Hellenic Foundation, at the Guildhall School of Music in London.
She has toured regularly in Europe, North Africa, Canada and the United States, Australia and the Far East, performing both as a soloist and with orchestras at many of the great international festivals.
In 1989 Eleftheria's first recording, "The Blue Guitar", featuring the premiere recording of Sir Michael Tippett's Sonata, achieved worldwide critical acclaim and was selected by Gramophone magazine as a "Critic's Choice Recording of the Year". Eleftheria was twice chosen to participate with a scholarship in Julian Bream's masterclasses and was the winner of the first prize at the 6th International Guitar Competition in Milan in 1977.
As a guitar teacher of high reputation at training courses and international masterclasses, she is constantly invited to be a member of juries at International Competitions in London, Bath, Izmir (Turkey), Eindhoven (Netherlands), etc.
Website www.eleftheria.info
Reviews
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WIGMORE HALL Recital - LONDON (24.09.1999) Her warm and vibrant personality radiated throughout a stimulating recital of Latin and South American music, delighting an enthralled audience in a well filled hall. CLASSICAL GUITAR skill, unfailingly beguiling tone, and her ability to vary her touch with fluency. THE TIMES |
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Kotzia brings to the guitar a spectacular display of Mediterranean intensity and colour, and it is not difficult to see why guitar fans are following her everywhere she goes.
BATH NEWS
Her playing has a unique quality and vitality which are quite unique.
GUITAR INTERNATIONAL
Top of pageEight String Brahms Guitar
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The “BRAHMS GUITAR” derives its name from Paul Galbraith's own arrangement of Brahms' Variations on an Original Theme Opus 21A for piano, which he transcribed originally for the 6-string guitar. Worried by a certain incompleteness in the bass and the fact that his left hand was stretched to its limits for much of the piece, he thought about increasing the range of the guitar (not a new idea, for even in the 19th Century guitarists played and wrote for the 7-string guitar, which carried an extra bass string strung below the traditional six) and felt that one extra string, tuned to a low A (a fifth below the low E string) yet also flexible enough to stand tuning up to a low C, would be sufficient to give the sense of “completeness” in the bass that he was looking for. |
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Sarah had organised a lovely setting for the six volunteer DGS members to play in her garden. A large gazebo had been specially purchased for the event. There were tables and chairs set out on the grass for the audience to listen to music whilst partaking of the cream teas. The weather was not wholly on our side as the wind tried to lift the gazebo and blow away the sheet music. Sarah had thought of everything and had securely tied the gazebo to the fence and supplied us with a box of cloths pegs for the music. There was a cry of ‘blue sky’ at one time but unfortunately it did not amount to much. |
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During the concert there was a marvellous moment. We were in mid flow with the Vivaldi when Sarah’s daughter, Charlotte and her friend, Katie, entered, dressed in aprons and hats. They were laden with home-made scones, covered in Judy’s home-made jam and lashings of cream. I have to admit, when I saw the girls, I totally forgot the music and had to smile and enjoy the moment. I must also mention the great audience we had. They were very supportive and obviously discerning music lovers. We were so comfortable in the garden that later we donned our sight-reading hats and continued to play to the remaining audience. Eventually it became too cold to play outside, even though Richard and Nick had resorted to blankets. Sarah then invited us inside for supper. |
The event was exceedingly enjoyable and what started out as a concert and cream tea included an informal music making session with lunch and supper …Thank you Sarah and your two memorable waitresses.
Guitar for Sale
Jose Ramirez Class 1A classical guitar (finished in Rosewood)
Matthew Davis, Grantham, Lincolnshire
Home Tel: 01476 572002
Work (The Woodland Trust) Tel: 01476 581111
Mobile: 07766 417145
Thoughts following the members’ summer concert 2002
Firstly I would like to thank and congratulate everybody who contributed to the members’ concert this summer, for making it another very successful event in the society’s history.
There are also a few thoughts I would like to share, following on from discussions with various people after the event.
There are many different ways of running a guitar society – probably about as many as there are guitar societies in fact. Here in Dorset since 1984 the approach has changed greatly over time. At first there were ad hoc groupings of members during the first half of the meeting, probably talking rather than playing, perhaps sometimes trying out duets or comparing guitars (and of course, nails). In 1990 the quartets and other small ensembles suddenly became a whole-society orchestra (after certain members started going to summer schools at which orchestral playing was a feature).
Other societies have different ways. Lauderdale in Highgate for example, has long had an ensemble and a second half concert but never ever invites guest performers – once a year they did a members’ concert, mostly solos. Ealing always has a few guests (very inexpensive ones) of different musical styles, and few actively playing members: Brentwood society in Essex, now defunct, had a major recitalist every month except for the two occasions a year for members to perform. Southampton has a small amount of ensemble at the main meeting and separate meetings for those who wish to take it more seriously.
What is very rare in my experience is a society that achieves a sufficient quality of guitar orchestra performance that it can mount a half-programme of orchestral works such that relatives, friends and others who come along to a public concert do not have to exercise serious levels of indulgence to enjoy the show. This however has been the situation with the Dorset Guitar Society for several years, but it is not something that happens from nowhere. It happens because a lot of people behind the scenes put in much work to make sure there is the best chance of success. The success the society’s orchestra performances have enjoyed has not been guaranteed, but rather is the outcome of a process of selection, appraisal and rehearsal of the music, aiming to build on the ensemble’s strengths to achieve a balanced and satisfying programme.
This process is not scientific however. It isn’t possible to simply pick a piece, decide it will take, say, three rehearsals, and then fit those into the schedule leading up to the concert. This of course is exactly what you would do with a professional orchestra, in which the potential of the players is a known and defined quantity, and their jobs depend upon their getting it right when required: if necessary an orchestral player will take the music home and practise it until they know they can do it, and this is an understanding between the players and the management: they have to be able to do it.
Well of course with the Dorset Guitar Society the ‘management’ cannot not, and does not, expect anything like that level of commitment, responsibility or attainment. In practice, it is necessary to introduce potential programme pieces quite early on in the year because otherwise it would be far too much to risk the late discovery that a piece was not going to be ready in time, was musically inappropriate or whatever. If it were the case that interesting pieces could be rehearsed and learnt in a month, and if collectively the members achieved that, then that is what we would do: but its never that simple.
What would make a difference though would be a more consistent approach to the preparation of the individual parts, across the orchestra as a whole, right from the first introduction of a new piece. What usually happens is the last minute practice rush just before the concert: something close to that quality of preparation early on would mean the piece would have to be rehearsed less in the intervening meetings, because we would know that it would work, was a good piece and would fit in the programme as a whole. Then we could have in fact a more relaxed and varied diet of material in the meetings prior to a concert, rather than hammering notes onto fingerboards (what is sometimes known as “supervised practice”!)
The bottom line in all this, remember, is a fair and reasonable understanding of the quality of the performance the orchestra produces at its concerts. In a real sense that quality depends upon the preparation of each part, and if as a group the society wishes to maintain, and improve, its collective performance standard, then these issues are very important indeed.
As an aside, I would like to add that as far as I am concerned, in the orchestra everybody of every level of experience should feel able to participate and contribute in their way. These remarks are intended as encouragement for all.
So partly in pursuit of these thoughts I have included a document which aims to make some suggestions as to how the preparation of an ensemble part can be made more efficient, and it is to be hoped that it is self explanatory. I would stress though that in ensemble playing it is not wrong notes that cause the main problems, but wrong rhythm and counting. Hence the emphasis on counting and the use of a metronome where necessary in practising. Above all, remember that we always have to know even very simple things far better than we think we need to, in order for them to work properly when fitting together with the ensemble as a whole.
Thanks again to everybody for their hard work and dedication!
Radio Solent
Trevor Semple and Stephen Kenyon were interviewed on the Nick Girdler Show on Radio Solent last Friday 6th September.
Stephen had to show presenter Nick Girdler how to play the guitar ( in fifteen minutes) but first apparently Nick had to build one - that’s where Trevor Semple came in.
Trevor had brought his square guitar along with him, which (named Wilmer) he said had a bit of the Fred Flintstone about her. Trevor explained that he begun making things at a very young age but started making instruments twenty five years ago after a visit to Madrid where he first saw guitars being made. The main developments in recent years have been outside of Spain.
The difference between a good guitar and a bad guitar explained Trevor, is the quality of the soundboard. It is critical that the wood be of a tight grain, dry and not soggy.
Trevor has developed new designs which include carbon fibre but says there is no definitive design.
Find out more about Trevor Semple guitars on: www.sempleguitars.com
Stephen was first asked about the Dorset Guitar Society and what we do at our meetings. (I shall now expect floods of telephone enquiries)
Then down to the basics of playing the guitar. Stephen explained that after establishing whether you are right or left handed and buying an instrument, start having lessons.
Stephen demonstration playing one note at a time with the right hand and then introducing the left hand notes and building up with two notes, then the thumb. You should take things a step at a time and have a couple of achievable goals after each lesson.
Nick wanted to know what he would sound like after two lessons and then after four years. Carcassi’s Study in A was the achievable goal for four years practice.
The underlying message here seems to be “get yourself a nice teacher” (Nick Girdler). Well most of us have!
Apologies for not be able to let those not on email know that this was on the radio, it was rather short notice. However, if you would like to have a listen I have taped it. Just let me know and I will run you off a copy for the cost of a tape.
Member's concert 2003
The Members concert for next year has been booked for 10th May 2003. Please put this in your diary.
I know it seems a little early to start thinking about this but we have to book the hall as soon as possible. It was decided that we would like to hold the concert a little earlier next year to give ourselves the maximum amount of time to learn the music for the John Mills Tour in October.
Concert Diary
Saturday 28th September - Concert 8 p.m.
Southampton Guitar Society
Martha Masters
The Point Dance and Arts Centre, Eastleigh
Box office: 023 8065 2333
Monday 30th September - Concert 6 p.m. - 7.30 p.m.
Classics at Dusk
John Edwards & The Stromenti String Quartet
St. Clements Church, Boscombe
Arrangement of Rodrigo Guitar Concerto and works for guitar by Villa-Lobos and Boccherini
Tel: 01202 399 114 or 01202 821 518 (after 6 p.m.)
Tel: 07973 863 380 or 07702 118 108
£5 (Children £1)
Other dates in the Classics at Dusk series :
October 7th and 21st - both featuring the Stromenti String Quartet
Saturday 12th October - Concert 7.30 p.m.
Sunday 13th October - Workshop
Dorset Guitar Society
Eleftheria Kotzia
Kinson Community Centre
Margaret Tredwell: 01425 613 739
Concert £8 (Concessions £6)
Combined Workshop & Concert £25
Saturday 26th October - Concert
Fifth Anniversary Concert
Stephen Kenyon
St. Mary's Church, Dorchester
Tel: Stephen Kenyon 01305 257 099
Thursday 5th December - Lunchtime Recital 1.05 p.m.
Lighthouse - Poole’s Centre for the Arts
John Mills
The Studio
Tel: 01202 685 222 - £5
Friday 13th - Sunday 15th December
Urchfont Manor, Devizes, Wiltshire
Raymond Burley & Cornelius Bruinsma
Weekend course
Tel: 01380 840495 Fax: 01380 840005
Important Dates for 2003
Kinson
Sat 8th February - Fiona Harrison - Concert
Sun 9th February - Fiona Harrison - Workshop
Dorchester
Sat 21st June - Fabio Zanon - Concert
Premiere of Stephen Kenyon’s Guitar Concerto no 1.
Derby
Sat 4th October - Workshop & Concert with John Mills
Kinson
Sat 11th October - Workshop & Concert with John Mills
Dorchester
Sun 12th October - Concert with John Mills