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GUITARS

Simon Ambridge

INTERNATIONAL Exceptional New

CLASSICAL GUITARS From Around the World

Burghardt de Jonge, J.

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FRANCE Bam Cases Fanton d’Andon

GERMANY Gropius Kresse Panhuyzen Wagner

ITALY Bottelli Galli Strings Dist. Tacchi Waldner

SWEDEN Fredholm

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U.S.A. Byers Elliott Milburn Monrad Ruck Vazquez Rubio Velazquez White

Cleveland, Ohio U.S.A. s www.guitarsint.com s 216.752.7502

Ambridge Aram Dean Fischer Rodgers Tuners Southwell

The Journal of the Guitar Foundation of America • Volume XXXVII, No. 3, 2011 Agustín Barrios • Octaviano Yáñez • John Duarte’s Early Style • Adam del Monte

Guitar Foundation of America SOUNDBOARD Vol. XXXVII No.3, 2011

CANADA

GUITARS INTERNATIONAL

After Torres SE 111 England

GALLI GENIUS STRINGS Warm, Powerful, Brilliant & True

Titanio GR45

Carbonio GR90

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Titanio GR35

Jason Vieaux performs and records on Galli Genius Strings

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GUITARS INTERNATIONAL Cleveland, Ohio U.S.A. 216.752.7502

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GPX Classical Guitar Strings TM

Money for Nothing! Strings for Free! OK, the part about the money was a trick to draw you in. The part about the free strings is true! For over a year, we have given hundreds of sets of our GPX™ carbon trebles to players who contact us. All you have to do is send an email with your address to [email protected]. We will send you one set each of our GPX™ normal and high tension carbon trebles so you can form your own opinion. James Piorkowski, professor of classical guitar at Fredonia School of Music in New York said “These new carbon strings by Oasis are simply wonderful! With warm tone color and plenty of sustain, my guitar is now free to sing sweetly. Thankfully, my search for the optimum string is over. Bravo, Oasis!” We feel that our GPX™ strings are the best carbon

The EuroStrings Composition Contest for classical guitar was developed as an annual competition in 2019 by EuroStrings to help create high quality new works for the classical guitar.

The competition also aims to promote emerging composers up to the age of 35, whose works have not yet had the chance to gain international recognition. The composition must be composed for the six-stringed classical guitar and should not be a published work, or previously have received an award.

Applicants should have either European citizenship or be based in one of the EU countries/territory (this also includes European countries which are not a part of the EU, but are geographically considered part of Europe).

The winner of the EuroStrings Composition Contest will receive a cash prize of €1500* and the winning composition will be the obligatory piece for the Final of the Fourth EuroStrings Guitar Competition, which will be held during the International Guitar Festival José Tomás in Petrer, Spain in July 2021. The winning composition will be performed by the winner of the 4th EuroStrings Guitar Competition at the 16 EuroStrings festivals.

The Jury consists of three internationally renowned composers and guitarists. The selection process is in three stages:

• Eliminatory: the best 12 compositions will be selected out of all applications;

• Semi-Finals: the best three compositions will be selected; and

• Finals: one winning composition will be selected from the three Finalists.

Full details are available at:

https://eurostrings.eu/eurostrings-composition-contest-for-classical-guitar

* this prize is paid gross, and may incur taxes

A Word from the Jury

Rather than being trapped in a tradition, the guitar’s repertoire is constantly evolving and moving in new directions: not fixed, but in flux. Today’s virtuosi have taken technique and musicianship on the guitar to a level unimaginable even a generation ago. Contemporary performers need contemporary music

by Rolf Straver, the Netherlands

Past Summer I had my second experience with this great multi-faceted festival. I discovered it last year and was completely astonished then to see what Thomas Kirchhof from the Amadeus Guitar Duo managed to offer to the guitar passionado, during one week, for the modest amount of 530 Euros: four personal master classes, ensemble playing, Dale Kavanaghs daily finger aerobics, yoga-lessons, medical massage, eleven concerts, excellent meals and accomodation, expositions by guitar builders and music publishers and maybe the biggest pleasure of all: the opportunity to meet thirty great masters and some hundred fifty fellow guitarists from all corners of the globe, in a nice atmosphere. The evening parties could last for long after midnight So, even before I went home, I already had taken the decision to make Iserlohn a new personal Summer tradition. Being a composer in the first place, my focus was on discovering new music and playing techniques as a source of inspiration for my own compositions, and |I must say it worked very well the months following the festival. I wrote several large compositions dedicated to Iserlohn friends. Besides that, one gets automatically involved in a spontaneous post-Iserlohn concert series as many participants make new friends and invite each other during the year to other places abroad.

Iserlohn 2008 (3-10 August) was for me a twin event as it was preceded seamlessly by the Biennal Guitar Competition, held at the same place during the end of July. So I took the opportunity to attend and watch the Guitar Competition, as a prelude to the Symposium. Although the two events were meant to be separate, quite a few active participants also stayed for the Festival. I did not notice any change of ambiance after the switch was made: the competition had a relaxed and merry atmosphere as if it were already the festival. I begin to think this is maybe, unlike p