Makarov (Bobri) - The Memoirs of Makaroff

8/18/2019 Makarov (Bobri) - The Memoirs of Makaroff

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The Memoirs of Makaroff: Part I

translated by Vladimir Bobri and Nura Ulreich

From the pages of uitar !e"ie# no$ % &%'()*

These recollections come from the pen of the famous Russian guitar enthusiast NicolaiPetrovich Makaroff (1810-1890) !ho em"o#ie# them upon retirement from militar$#uties in his %&ullhearte# 'onfession% (a#ushevna$a spove#)* n this !ork !hichattracte# much attention an# un#er!ent man$ e#itions he gives most interesting reportson his contacts !ith cele"rate# guitarists an# guitar-makers his o!n e+periences inmastering the instrument an# much other information that prove# an ine+hausti"le fount

for su"se,uent Russian !riters on the su"ect* &or invalua"le assistance in connection!ith Makaroff !e are in#e"te# to .r* /oris Perott Presi#ent of the Philharmonic ociet$of uitarists of 2on#on !ho met the Russian guitarist at his #eath"e#* -The 3#itor*

3ver since can remem"er passionatel$ love# music* M$ first musical e+perience !as!ith a violin !hich starte# to pla$ "$ ear !hen ,uite $oung* 2ater on stu#ie# !ith thehousehol# teacher of m$ rich aunt* This teaching #i# not take me far along the path of m$earnest en#eavor* 2essons !ere a"an#one# for some $ears #uring m$ school #a$s "ut!hen gre! up an# !as sent to the mperial uar# 4ca#em$ in 5arsa! #eci#e# tocontinue m$ musical e#ucation #espite most a#verse con#itions* 4lthough succee#e# in

fin#ing a "etter instrument it prove# impossi"le for me to fin# a teacher for m$ a#ore#violin* 6ence ha# to stu#$ "$ m$self #uring intervals "et!een classes* 5hile m$comra#es reste# an# pla$e# !oul# go to the attic an# s!eat over the /aillot 7iolinMetho#* M$ passion for music !as fire# still more "$ the follo!ing event .uring thefestivities connecte# !ith the coronation of 3mperor Nicholas in 189 the cele"rate#Paganini king of all past an# future violinists arrive# in 5arsa! for a concert* 6ecreate# a tremen#ous furor among the pu"lic "$ giving nine concerts in the Pu"licTheater !hich !as fille# from top to "ottom ever$ time* This in spite of the tripling ofthe price of tickets* coul# neither eat nor sleep "ecause of an over!helming #esire tohear the famous musician "ut alas stu#ents !ere for"i##en to appear in an$ pu"lic places of #iversion inclu#ing theaters an# concert-halls* 5hat coul# #o: &ortunatel$

passion overpo!ere# pru#ence an# got m$self civilian clothes an# a ticket for the top-most ro! of the me;;anine !hich !as fre,uente# "$ onl$ the lo!est class of people* #i# this in or#er to avoi# the chance of meeting an$ of m$ superiors* coul# never#escri"e the impression this concert ma#e on me* !ept an# so""e# listening to the#ivine soun#s create# "$ the enchante# "o! of the magical instrument of that giant ofconcert music the e,ual of !hich ha# never hear# an# !ill never hear again* camehome from the concert !alking like a #runken man so overcome !as "$ emotion* #i#not sleep all night still hearing the heavenl$ soun#s create# "$ this mo#ern


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me into his services* 6o!ever the har# #uties of m$ ever$#a$ school life stille# m$imagination an# continue# m$ militar$ stu#ies giving all possi"le free time to passagesan# e+ercises on m$ violin in the attic* also pla$e# for the stu#ents ma;urkas valsesgalops an# popular airs from %The /ar"er of eville% emirami#e an# other operas "$Rossini*

4t last "ecame an officer an# onl$ then !as a"le to get a goo# violin teacher from thetheatrical orchestra of the to!n an# "egin regular lessons* /ut even so ha# "a# luck asour regiment !as soon transferre# to another cit$ !here lessons !ere again impossi"le*=et continue# to pla$ "$ m$self on m$ cherishe# instrument at the same time that "egan to pla$ a si+-string guitar not !ith an$ serious intention an# mostl$ foraccompaniment to m$ o!n singing !hich !as also a part of m$ musical aspirations* continue# in this manner until m$ marriage in 18>8 !hen retire# from militar$ activit$an# !ent to live near the cit$ of Tula in m$ o!n countr$ place* 4t that time ha# almost

completel$ #eserte# m$ violin m$ attention having "een concentrate# increasingl$ on theguitar* This gra#uall$ "ecame the impassione# aspiration of m$ life on !hich all of m$feelings an# thoughts converge#* "egan to pla$ long hours ever$ #a$ tr$ing to masterthe instrument* ma#e for m$self a list of the various #ifficulties usuall$ "esetting theguitarist an# "egan to practice for the purpose of overcoming them one "$ one* got ametronome an# starte# using it an# it le# me on in m$ e+ercises slo!l$ "ut surel$ fromthe slo!est tempo to the fastest -- from or#inar$ #ifficulties to the tremen#ous ones to "eencountere# in guitar pla$ing* pla$e# ever$ #a$ from ten to t!elve hours holi#a$sinclu#e# an# sometimes as man$ as fourteen hours a #a$ "ut never less than ten*There !as a reason for m$ intense #evotion to the instrument -- namel$ that almost allm$ relatives an# frien#s reiterate# time an# again that !as simpl$ !asting m$ time --

that mine !as a fruitless la"or* The$ sai# the guitar !as not an instrument of an$ realvalue that it !as too late in m$ t!ent$-eighth $ear to "egin an$ stu#$ (let alone such a#ifficult an# unprofita"le instrument) that !oul# never attain to an artisticall$ superior performance nor in fact have the satisfaction of "ecoming a me#iocre pla$er* 4lthoughat first !as merel$ anno$e# "$ these remarks soon "ecame impatient an# finall$resolve# to summon all m$ iron persistence to the fore so that might "ecome if not thefirst at least one of the foremost guitarists of m$ time* 4t that time succee#e# in "u$ingat Mosco! a ver$ goo# 7iennese guitar ma#e "$ taufer !ho at that time !as the "estguitar-maker in 3urope* ha# learne# several serious guitar pieces mostl$ compositions "$ Mauro iuliani* 5hile stu#$ing him nevertheless felt that his st$le !as alrea#$outmo#e# an# that something !as lacking in his other!ise "eautiful music* 3+actl$ !hat

it !as coul# not e+plain to m$self at that time* onl$ felt that it nee#e# that surpassing "rilliance that glo! of concert music -- !hich hear# in the vehicles use# "$ ourvirtuosos of the piano violin an# other concert instruments* The guitar !orks in m$ possession #i# not satisf$ m$ musical hunger* trie# to compose m$self !ithout an$kno!le#ge of harmon$ an# not the slightest i#ea a"out the rules of composition* .espitethis succee#e# in !riting several small an# large compositions among them a ma;urka!hich later on create# a verita"le furor at one of m$ concerts in /russels an# a %ran#$mphonic &antas$% !hich first entitle# %'oncerto% an# re!rote several times "efore it "ecame a great success among guitarists #uring m$ first visit a"roa#* n the spring of18?0 !ent to t* Peters"urg an# #uring m$ sta$ there met man$ artists an# music


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lovers among them 7ieu+temps .r@mon# uillieu an# ichra the #ean of the seven-string guitar* also met Markoff the guitar #evotee !ho ma#e man$ transcriptions for theseven-string guitar* Mr* ichra after listening to m$ %$mphonic &antas$% replete !ithe+treme #ifficulties an# "rilliant effects (!hich at that time coul# not m$self pla$satisfactoril$) sai# %Not onl$ pla$ing $our &antas$ "ut even !atching it "eing pla$e#terrifies one* t is so full of musical insolence that ma$ not "e forgiven $ouA% pla$e# this%&antas$% after!ar#s for uillieu of the Paris 'onservator$ an# the first flute soloist ofthe ran#


4/21

aroun# perfection* n short foun# m$self too remote from a reall$ artistic performancean# this !eighe# #o!n m$ spirits !ith #ou"t an# #espair* 5hile in t* Peters"urg sentfor an# receive# from taufer of 7ienna a ne! guitar improve# "$ the a##ition of t!oe+tra strings !hich increase# tonal po!er as !ell as harmonic possi"ilities* Fpon m$return to the countr$ continue# m$ e+ercises !ith increase# enthusiasm* in an effort toac,uire the ,ualities of performance !hich lacke#* M$ trou"le coul# "e e+plaine# "$the fact that ha# starte# !ith that !hich shoul# have complete# m$ stu#iesD in plain!or#s !as #evoi# of an$ schooling* ha# a#vance# it !as true "$ slo!l$ overcomingthe technical #ifficulties of the instrument an# succee#e# in mastering all chromatice+ercises an# trills* 4s a result the first pieces ha# learne# !ere not the e+ercises somuch nee#e# in m$ case "ut the %ran# Guintet% an# the %Thir# 'oncerto% of iuliani*4fter that imme#iatel$ sat #o!n to compose m$ o!n music "ristling !ith the greatesttechnical #ifficulties !hich la$ "e$on# an$ guitaristBs imagination at that time*nci#entall$ also !rote music for several vocal romances !hich !ere pu"lishe# "$

olt; in t* Peters"urg* 6o!ever soon all of m$ musical activities centering a"out theguitar came to a stan#still for a long time* &inancial affairs !ere no! #eman#ing m$!hole an# un#ivi#e# attention* &or four $ears har#l$ touche# m$ "elove# instrument*5hen the crisis passe# returne# to m$ music "ut alas m$ assurance in performance!as gone giving !a$ to #ou"ts that !oul# ever succee# in "ecoming one of thevirtuosos of the guitar* These #ou"ts !ere intensifie# "$ some unfavora"le criticismsa"out m$ pla$ing !hich ha# reache# m$ ears from some of the %true connoisseurs ofmusic% as !ell as from m$ o!n fello!-pla$ers* hear# for instance that #i# not pla$ "ut rather tore strings that m$ performances !ere not satisfactor$ that !oul# "eo"lige# to give up the guitar etc* etc* /esi#es all this the apath$ sho!n to!ar#s theguitar "$ lovers of music in general !as most #iscouraging to me* coul# not un#erstan#

it* 4t times !as on the verge of "urning m$ guitar an# all m$ compositions an# foreverrelin,uishing m$ ar#ent #evotion to the instrument* /ut such moments of #espair passe#an# m$ thoughts turne# again to improving the guitar so that it !oul# reall$ ac,uire a#eep tone as !ell as sustaining an# singing ,ualities* !rote to taufer in 7ienna "egging him to make such a guitar -- one that !oul# remain a monument to hiscraftsmanship throughout the !orl# an# offering him an$ price* aske# him to make met!o guitars kno!ing that no t!o instruments coul# "e e+actl$ alike an# hoping that nomatter ho! goo# one of them !as the other might "e even "etter* n t!o months m$ t!oguitars arrive#* 6e ma#e them much "igger in si;e an# of much greater sonorit$* felthapp$ not to have spent m$ mone$ in vain* 5ith the guitars receive# a letter from himsuggesting that go to 2on#on to hear the greatest of all guitarists of that time Mr*

chult;* This intensifie# m$ secret $earning of some time to go an# pla$ "efore foreignguitarists an# musicians an# hear their opinion of m$ pla$ing* "egan m$ preparationsfor going a"roa#* The visit !as to "e the #eterminant %to "e or not to "e% in regar# to m$entire musical career*

The Memoirs of Makaroff: Part II



5/21

From the pages of uitar !e"ie# no$ + &%'(,*

shall not tell of m$ trip "ut onl$ of those events that !ere relate# to the guitar the

o"ect of m$ a#oration* 5hen m$ !ifeBs !ater-cure !as complete# foun# leisure tostart m$ purel$ musical trips* &irst of all !ent to see Ham"erger a erman guitarist!ho ha# "een tol# !as famous along the shores of the Rhine* 6e !as a $oung man ofthirt$ !ith a kin# an# frank e+pression on his tanne# face "ut negligentl$ #resse#* tol#him !as a mere amateur !ith an intense passion for the guitar an# that greatl$ #esire#to take a fe! lessons on the instrument from him* 6e took his guitar a simple instrumentnot half as goo# as m$ o!n ( mean the si+-string one not an$ of m$ last ones !ith eightstrings) an# "egan to pla$ some of his o!n compositions along !ith !orks "$ iuliani*6e pla$e# forcefull$ spirite#l$ #ispla$ing a fine techni,ue "ut in the manner of allerman guitarists that is to sa$ !ithout ten#erness an# sufficient clarit$ an# polish*Thus the "u;; of "ass strings !as constantl$ hear# #uring his performance*


6/21

an# hanging on the !all* /ut on that paper the follo!ing !or#s !ere !ritten in talian % pronounce ani #e &erranti one of the greatest guitarists have ever hear# one !ho hasin#escri"a"l$ #elighte# me !ith his super" performance*% The signature !as simpl$%NicolJ Paganini*% There in#ee# !as something to "e prou# of an# trul$ #eservingenv$A The ne+t #a$ he repai# m$ visit an# of course !ishe# to hear me pla$* performe# for him the same %$mphonic &antas$% that ha# pla$e# for Ham"erger an#this is !hat he sai# % thought that $ou !ere simpl$ a #ilettante "ut see that $ou are areall$ great virtuoso an# assure $ou there is no one !ho can teach $ou* =ou nee# not goto 2on#on to learn from chul; or 'hi"ra as $ou planne#* The$ cannot teach $ouan$thing an# their lessons !oul# onl$ spoil the original metho# !hich $ou have create#*'ontinue in $our o!n !a$* f $ou #o not min# !oul# like to make a remark a"out $ourleft han#* cannot agree !ith $ou in regar# to certain positions !hich are the ver$opposite of the ones follo! as never use an open string* 4s for $our right han# it isthe ape+ of perfection* No!here have seen such a perfect right han#*% n this

connection must mention that from the ver$ start of m$ guitar stu#$ reali;e# that theright han# is the main re,uisite* Taking for grante# that m$ left han# !as sufficientl$#evelope# through m$ previous pla$ing of the violin "ecame convince# that forcerapi#it$ clearness softness as !ell as so-calle# %st$le% #epen#e# entirel$ on the righthan#* Therefore concentrate# all m$ effort in e+ercising especiall$ that han#* To thisen# ha# #evise# some mechanical formulas !hich pursue# constantl$ using themetronome (our "est teacher an# ai# in overcoming the greatest #ifficulties) in or#er toac,uire great rapi#it$ an# clearness !ithout confusion an# fatigue of the fingers* invente# a pocket-guitar -- a small "oar# on !hich !ere fastene# three strings tune# inthir#s K:L speciall$ #evise# for #eveloping the strength of the right han# an# more particularl$ the little finger !hich is al!a$s !eaker than the others* ha# ac,uire# m$

skill in ren#ering the tremolo onl$ !ith the help of that pocket-guitar -- a skill to m$ "estkno!le#ge une,uale# "$ an$ other guitarist not to mention thun#ering crescen#os an#!hispering moren#os to !hich man$ pla$ers pai# their tri"ute of praise* The opinion ofani #i &erranti ha# of course a greater effect on me than Ham"ergerBs compliments* t#i# m$ heart goo# as #ou"ts !ere #ispelle# "$ reassuring hopes*

&rom /russels !ent to 2on#on in feverish impatience not so much to take in thenternational 3+position "eing hel# there as to hear the famous chul; of !hom hear#from taufer* The first morning in 2on#on right after "reakfast visite# one of themusic shops in or#er to fin# out chul;B a##ress* No"o#$ kne! his !herea"outs "ut !as #irecte# to his cele"rate# "rother pianist at the court of the 2or# of .evonshire near

Trafalgar ,uare* e+plaine# to him the o"ect of m$ earl$ visit -- m$ !ish to get intouch !ith his "rother* %2eonar#o:% he aske#* %5h$ have not seen him in the last three$ears* 6e has the greatest talent "ut is the !orst #runkar# in 2on#on* 5eBve ,uarrele#an# #onBt see each other an$ more* o to his tailorD he ought to kno! the a##ress*% Hellerhis tailor reluctantl$ consente# to !rite an# ask !hether chul; !oul# "e intereste# inmeeting me* left Heller #um"foun#e# "$ all the m$ster$ surroun#ing the famousguitaristBs life* /ut later learne# the reason for it* 6e !as sunk in #e"t an# hi#ing fromcre#itors* Thereafter visite# the tailor ever$ #a$ e+pecting to hear from chul; "ut invain* 4t last five #a$s later receive# a laconic note to the effect that he %coul# visit Mr*Makaroff at 800 P*M* that evening*% am certain no passionate lover a!aite# the o"ectof his affection !ith a longing e,ual to m$ eagerness to meet chul; the man on !hom


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all thoughts converge# for the previous eighteen months* 3+actl$ at eight oBclock chul;entere# m$ hotel room* 6e !as a tall !ell-"uilt man a"out thirt$-si+ $ears ol# han#somean# of e+cellent manners* n his fashiona"le an# e+pensive attire he looke# more like an3nglishman than a erman* cannot "e sai# to have o"serve# much ho!ever in the o$of fin#ing him in m$ presence* M$ heart !as thumping !il#l$ an# felt at a loss inopening the conversation* &ortunatel$ he kne! &rench an# spoke first apologi;ing forhaving ma#e me !ait so man$ #a$s* 4fter !e sat #o!n tol# him in "rief the stor$ ofm$ love for the guitar an# of m$ #ou"ts an# #espair alternating !ith hopes an#aspirations* 6e listene# to me !ith close attention an# after finishe# place# m$ guitarin his han#s* 6e u#ge# it to "e an e+cellent instrument an# much superior to his o!n!hich ha# "een ma#e in 2on#on* 5ithout a trace of either em"arrassment or timi#it$ he "egan to pla$ even though coul# #iscern that the t!o e+tra strings !ere a source ofconfusion to him* 6e pla$e# man$ of his compositions to m$ in#escri"a"le #elight* feltas if !ere #runk* 6is pla$ing em"o#ie# all coul# ever hope for -- an e+traor#inar$

rapi#it$ clearness forcefulness taste suavit$ of touch "rilliance e+pression as !ell assurprising effects that !ere ,uite ne!* notice# moreover a #eci#e# self-assurance#uring the performance* t seeme# in fact that pla$ing the instrument !as "ut a light#iversion for him for he sho!e# himself hee#less of the tremen#ous #ifficulties in !hichhis o!n compositions a"oun#e#* 4mong them particularl$ like# %a"riellen-7alse%%7alse 4utrichienne% an# %Ron#o avo$ar#*% To m$ in,uir$ as to !hether coul# getthese compositions an$!here he ans!ere# that since the$ ha# not "een pu"lishe# hehimself !oul# "ring them ne+t #a$* also re,ueste# him to let me have as man$ of his!orks as he possi"l$ coul#* M$ turn to pla$ finall$ came* 6e han#e# me the guitar!hich place# on m$ left knee !ith great an+iet$ an# presse# it to m$ heart !ith thethought %.o not fail me no! m$ "elove#A% 4fter striking several chor#s "egan to pla$

the iuliani %'oncerto% through !hich !ent !ith clearness an# restraint that surpasse#m$ o!n e+pectations* The look of surprise on chul;B face at the "eginning of m$ pla$ingturne# into an e+pression of e+treme pleasure !hich he frankl$ conve$e# to me* 4fterthat performe# the %5illiam Tell


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shoul# like to mention one curious fact in connection !ith hult;B compositions* 6e pla$e# one #elightful Polka for me* %s it pu"lishe#:% aske#* %=es*% he sai# %"ut it isnot as nice in print*% %6o! is that:% %5ell% he sai# %!hen pu"lish m$ compositions often have to change them to make them easier an# more accepta"le for the general pla$er*% "egge# him %Please #o not change the manuscript of the last threecompositions*% %No noA% he promise# % !ill leave them e+actl$ an the$ are no!*% un#erstoo# the meaning of his !or#s much "etter upon m$ return home to Russia* 5hen "egan to stu#$ his manuscripts foun# that the$ !ere "a#l$ arrange# an# that the$!ere not at all goo# for pla$ing*


9/21

instrument notonl$ the #ea# letter of music "ut the ver$ soul of the composition* t isthat musical instinct "orn of un#erstan#ing the soul of music !hich can "e a!akene#into activit$ onl$ "$ the talent of the composer* shoul# like to #igress for a moment toe+press m$ inner convictions "$ recalling some thoughts from the #im past* .uring thelong perio# of m$ #eep interest in the guitar ha# an opportunit$ to hear a large num"erof guitarists an# amateurs of this mo#est instrument*


10/21

of asslineer* %5ho is the "est guitarist in 7ienna:% aske# Hovat;ick* %Mert;% !as theans!er*%4n# the "est guitar maker:% %&isher !ho takes charge of the instruments of the7ienna 'onservator$*% %5h$ not tauffer:% %/ecause tauffer has not ma#e an$ guitarssince 18?8* 4t present "elieve he is not even in 7ienna*% 5e took the a##resses an#imme#iatel$ entere# the !orkshop of &isher !hich !as t!o steps from the store* 5e!ere met "$ a ver$ respecta"le looking man a"out fift$ Mr* &isher* e+plaine# to himthat !ante# the "est possi"le guitar an# !as rea#$ to pa$ an$ price for such aninstrument* % !ill #o all can% sai# &isher* %'ome to m$ hotel tomorro! morning an#take a look at m$ tauffer guitar* f $ou make me a guitar !hich is a little "etter more po!erful an# resonant than mine !ill pa$ $ou #ou"le the price $ou $ourself charge mefor the guitar* .o $ou agree:% %.efinitel$% ans!ere# &isher* %7er$ !ell% sai# %then "egin $our !ork imme#iatel$ an# have the guitar rea#$ "$ Eul$* 6o!ever if fin# that$our guitar is onl$ ust as goo# as m$ present instrument or possi"l$ !orse !ill onl$ pa$ $ou the price $ou charge#*% 4fter !e left Mr* &isher m$ escort remem"ere# that

tauffer live# not far from !here !e !ere an# !e #eci#e# to in,uire if he !as home* 5e!alke# several "locks an# sa! a sign !ith a guitar on it* 6o!ever the name on it !as nottauffer "ut chmi#t* 5e entere#* 4 small fat little man looke# at us ,uestioningl$*%5asnBt this formerl$ taufferBs !orkshop:% !e aske#* %=es% he ans!ere# %"ut he sol#me his "usiness in 18?8 an# !ent to Prague* 6o!ever if $ou !oul# like to have ane+cellent instrument !e can #o it !ithout tauffer* t can "e ma#e "$ chert;er !ho !astaufferBs apprentice* 4lthough he has the greatest talent an# is a master of guitar makinghe can "e foun# living in great povert$ at present* Mean!hile tauffer !as ma#e richthrough his la"or*% 5e took chert;erBs a##ress (Margarethen 99) an# left* #eci#e# togo to chert;er an# or#er another guitar from him since !ante# to tr$ ever$ possi"lemeans to get an e+cellent instrument* 5ho kno!s thought perhaps this guitar !ill turn

out even "etter than &isherBs -- all is possi"le* n or#er to reach his place !e ha# to goacross the entire cit$ to the farthest en#* 6e ha# a ver$ small "ut clean an# light room*chert;er !as a small thin man !ith a tanne# face !hich !as ver$ e+pressive an#intelligent* 5e aske# him to sho! us some of his instruments* Fnfortunatel$ he coul#not as he !orke# onl$ "$ or#er an# onl$ after "eing given a#eposit* % am so poor% hesai# %that other!ise !oul# not even "e a"le to "u$ !oo#* have no guitar or#ers at present "ut here is a man#olin !hich ma#e for 'ount 2*% The man#olin !as e+cellentl$ma#e* %=ou tol# me% sai# chert;er %that $our guitar !as ma#e "$ tauffer* .o $ouremem"er !hen he ma#e it for $ou:% %n 18?9*% %.i#nBt tauffer sen# $ou t!o guitarsma#e of Pallisan#er !oo#:% %True*% %Then it !as !ho ma#e those t!o guitars for $ouin this ver$ room* 4t that time tauffer ha# alrea#$ sol# his !orkroom to chmi#t an#

or#ere# $our guitars from me "$ mail*% 5ith these !or#s he gave us an ol# letter !hich!e rea# !ith great curiosit$* %6o! much #i# he pa$ $ou for the !ork:% !e aske#*%T!ent$-t!o rou"les for each% !as the ans!er* !as ama;e# to recollect that ha# pai#10 rou"les for each one of them together !ith postal e+penses* foun# out after!ar#sthat tauffer charge# 80 florines or ?? rou"les for each* felt sa# an# anno$e#* lefta#eposit !ith chert;er to "u$ the necessar$ materials an# #eparte# C ha# planne# tovisit Mert; on the follo!ing #a$* 6e anticipate# me ho!ever* 5hen he learne# from&isher that !as in 7ienna an# ha# evince# a great #esire to meet him he pai# me avisit* Mert; !as a tall man a"out 0 neither fat nor thin ver$ mo#est an# !ith no hint ofa pretense to greatness a"out him* ha# alrea#$ "ecome !ell ac,uainte# !ith him


11/21

through a large num"er of his pu"lishe# compositions an# especiall$ through histranscriptions of famous opera music for the guitar* 6o!ever !ith little e+ception hismusic an# in particular his transcription !as uninteresting* t seeme# ,uite #ull to merather hurrie#l$ compose# !ithout proper attention simpl$ to satisf$ the guitar amateursof his time* 4!are of this #i# not e+pect an$thing unusual from his pla$ing* 6e spokelittle &rench -- m$ !ife assume# the role of translator* 4s soon as it !as feasi"le offere# him m$ guitar an# aske# him to pla$ something* 6e took it rea#il$ an#imme#iatel$ "egan to pla$* t !as a fascinating large !ork* %/$ !hom is this piece!ritten:% aske#* %/$ me% !as the ans!er* %t has not "een pu"lishe# $et*% Then he pla$e# another piece an# still another* 3ach one "etter than the last -- all magnificent* !as #um"foun#e# !ith surprise an# a#miration* felt like a 'olum"us #iscovering a ne!4merica for here !as the great guitar composer ha# long given up hope of fin#ing* ha# "een searching for him ever$!here among the countless pieces of music "oughtthroughout Russia an# 3urope* 4fter!ar#s ha# thro!n them a!a$ in #espair fin#ing

them !orthless ru""ish cooke# up "$ talentless mo#ern composers such as Pa#ovet;'arcassi /o"rovich /a$er oussman Huffner Pettol KPettoleti:L etc* n contrast themusic pla$e# "$ Mert; to !hich listene# !ith ever-gro!ing rapture containe#ever$thing -- rich composition great musical kno!le#ge e+cellent #evelopment of ani#ea unit$ novelt$ gran#eur of st$le a"sence of trivial e+pression an# multiplicit$ ofharmonic effects* 4t the same time there !as the clear "asic melo#$ !hich kept surginga"ove the surface of arpeggios an# chor#s* The effects !ere "rilliant an# #aring* /asic toall this he ha# a #eep un#erstan#ing of the instrument !ith all its possi"ilities an# hi##ensecrets* n his full-hearte# compositions like# the finales an# intro#uctions especiall$!ell "ecause the$ !ere unusual an# !ere !on#erfull$ #evelope#* The$ coul# "eremove# from the rest an# pla$e# separatel$ !ithout losing their po!er an# musical

significance* Thus the$ coul# give full satisfaction to an$ listener* 4fter each piece aske# him the same ,uestion an# receive# the same ans!er -- %Not pu"lishe#*% %5h$#onBt $ou pu"lish them: 5h$ keep this !on#erful music from $our a#mirers: 5h$ #o$ou allo! the guitarists to fee# on the tasteless compositions of /o"rovich an# Pa#ovet;an# constantl$ remain hungr$ for !ant of musical "eaut$:% % !ill tell $ou% sai# Mert;*%&irst on seeing these the pu"lishers !oul# sa$ it !as too #ifficult that !oul# have torearrange them* That !oul# spoil the compositions* econ# as long as thesecompositions remain in m$ "riefcase the$ remain ne!D an# are mine for m$ o!nconcerts* 5ithin si+ months after pu"lication the$ !oul# "ecome ol#* &urther the$!oul# "ecome #istorte# an# mutilate# "$ those misera"le guitarists !ho can onl$ scratchthe strings of the guitar*% %5oul# $ou care to sell me these manuscripts:% aske#* %5ith

great pleasure% sai# Mert; thereupon ,uoting a mo#est price* tol# him of m$e+perience !ith the manuscripts ha# "ought from hult;* %Please #o not imitate him an#spoil the music "$ re!riting it to make it less #ifficult*% %


12/21

or hult;* This !as also true in respect to ten#erness an# softness of tone* 4s a performer hult; !as much superior to Mert;* 6o!ever as a composer Mert; ranke#immeasura"l$ higher than hult;* 6e surpasse# in originalit$ in aspiration an# particularl$ in the un#erstan#ing of the guitar as an instrument !ith all its possi"ilitiesan# ,ualities* 4 fe! #a$s later again pai# him a visit* 4gain he pla$e# for me* Thistime hear# compositions !hich he ha# !ritten for the guitar !ith piano accompaniment*6is !ife a goo# pianist pla$e# that instrument* Mert; use# a guitar !ith ten strings* nm$ opinion the tenth string !as a"solutel$ superfluous since it !as a "ass contra 4* tseeme# to me that one "ass 4 !as sufficient for the si+ string guitar* ha# aske# "oth&isher an# chert;er to make m$ guitar !ith nine strings* t !oul# "e "etter to have a "ass contra if it !ere possi"le* 6o!ever since the tone !oul# have to "e too lo! to "e#istinctl$ hear# it !as not practical* i+ months later after m$ return to Russia solve#the pro"lem of that "ass "$ a##ing a tenth string -- an open "ass * This enriche# theguitar tremen#ousl$ since it took care of the three tones of the scale ' . an# ma#e

availa"le on open strings the #ominant tonic an# su"-#ominant* To a large e+tent thisma#e pla$ing easier* t also enlarge# the harmonic possi"ilities of the guitar* nci#entall$as far "ack as 18?0 ha# ma#e an important improvement in guitar construction -- ha#or#ere# a longer finger"oar# !hich inclu#e# t!o full octaves a##ing five half tones tothe guitar* This improvement !as su"se,uentl$ accepte# "$ tauffer an# "$ chert;er*5e remaine# in 7ienna over three !eeks* 5e like# that cit$ ver$ much* t has al!a$sremaine# in our min#s as a s!eet memor$* 5hat "eautiful !omenA 6o! charmingattentive an# agreea"le ever$one there is -- especiall$ to foreignersA The cost ofever$thing is ama;ingl$ cheap in 7ienna* 6ere isan e+ample


13/21

si;e !as larger than an$ ha# seen "ut more important an# completel$ ne! in guitar-making art !ere t!o iron ro#s place# length-!ise insi#e the instrument*

The Memoirs of Makaroff: Part IV


From the pages of uitar !e"ie# no$ . &%'(/*

n the prece#ing installment Makaroff an+ious to purchase a superior guitar sought outt!o of the "est guitar makers in 7ienna -- &isher an# tauffer* &rom the former heor#ere# the "est possi"le guitar that coul# "e ma#e !ith e+pense no #eterring factor*Then he looke# up tauffer an# learne# that the guitar maker ha# left 7ienna for Praguesome $ears "efore* 6o!ever Makaroff learne# that chert;er an apprentice of taufferBslive# in 7ienna* &rom chert;er he also or#ere# a guitar !ith the same stipulations*

everal months later the guitars !ere #elivere#* &isherBs #isplease# him* chert;erBsho!ever #elighte# him* The guitar !as of a larger than usual si;e an# its tone ha# great "eaut$* 6e notice# also that place# length!ise insi#e the instrument !ere t!o ironro#s*** L This clever i#ea so skillfull$ reali;e# !as "ase# on the same principle as theiron straps un#er the soun#ing "oar# of the piano* The use of the t!o ro#s relieve# thesoun#ing "oar# from the "ur#en of carr$ing the full tension of the strings* This !as no!thro!n completel$ onto the t!o ro#s* The top of the guitar !hich previousl$ ha# "eenrestraine# "$ this tremen#ous tension !as no! completel$ free to vi"rate* This e+plainsthe strength an# richness of tone !hich ensue#* 4fter t!o months of use chert;erBsguitar ac,uire# a remarka"l$ po!erful tone such as ha# never "efore hear# in an$guitar* n a##ition to this chert;er ha# also intro#uce# another improvement a #ou"le

lo!er "ack* This too !as of the greatest importance increasing the richness of tone inthe follo!ing manner .uring the performance the "ack of the guitar rests against the "o#$ of the performer* The soun# "ecomes muffle# since vi"rations are a"sor"e# "$ theclothing* The secon# "ack is left free to vi"rate an# to reflect the full tone of theinstrument* 4nother innovation !as the use of mechanical pegs* 4lthough this ha#alrea#$ "een use# "$ other makers ha# never "efore ha# an$ on an$ guitar "efore thisone* The$ ma#e tuning easier an# more accurate* Thus m$ efforts !ere cro!ne# !ithfull success* M$ "elove# instrument su##enl$ ma#e a great stri#e on the !a$ to perfection something it ha# not "een a"le to achieve in the last t!ent$ $ears* 5ith#elight sent the 0O "onus ha# promise# him* n a##ition sent him m$ #eepestthanks for his innovations in guitar-making !hich improve# the instrument "$ so much*

The thanks sent him !ere not onl$ for m$self "ut also in "ehalf of all sincere lovers ofthe instrument*


14/21

"etter than the guitar receive# from him in /erlin* till !as ,uite please# an# sent himthe promise# pri;e mone$* Moreover recommen#e# him to amateurs !ho !ante# ne!instruments an# persua#e# each of them to sen# chert;er similar "onuses* 4t the sametime !as correspon#ing continuousl$ !ith Mert; an# !as ac,uiring from him thosemanuscripts of his !hich he #i# not care to pu"lish* n this manner each $ear receive#three to four ne! manuscripts* These !ere a valua"le a##ition to m$ rare an# alrea#$e+tensive li"rar$* C 6o!ever in spite of m$ profoun# interest in the guitar coul# nothelp feeling that the guitar as an instrument ha# come to the en# of its life c$cle* Thereali;ation !as ver$ har# to take* !as a!are that the pianoforte !as constantl$ "eingimprove# an# #evelope# as !as also "eing #one !ith instruments of lesser importance* No one seeme# intereste# enough to improve the guitar* Perhaps this lack of mechanical#evelopment !as one of the reasons !h$ it !as so little in use or rather !h$ it ha#fallen so lo!* n a##ition the #eath of KMauroL iuliani ha# "een a severe "lo! since!ith him the talente# guitar composers ha# cease# to e+ist* 5as the guitar reall$ #oome#

forever !on#ere#: s there an$thing !hich can "e #one to pro# an# stimulate it intorene!e# musical significance: 4re no more technical improvements on it possi"le: 4rethe talente# guitar composers gone forever: 'ompetition is a great lever !hich prompts progress in all fiel#s of human en#eavor* t !oul# "e !ise to fin# a !a$ to use it an#there"$ stimulate the influence of the guitar in the musical !orl#* 6o! to muster theguitar-makers guitar composers an# musicians for a mutual effort in the same #irection:Thinking along these lines "rought me finall$ to a #efinite conclusion* The i#ea of acontest came to m$ min#* un#ertook it !ith a kin# of painful hope an# feverishl$ "eganto "ring it to fruition* n March 18 !rote the program of the contest* nspire# onl$ "$m$ impersonal love for music an# especiall$ guitar music an# in or#er to create interestin the competition esta"lishe# four pri;es &or the "est composition for the guitar 800

&rancs (00 ru"les)* &or the secon#-"est composition for the guitar 00 &rancs (1ru"les)* &or the "est-ma#e guitar 800 &rancs (00 ru"les)* &or the secon#-"est guitar00 &rancs (1 ru"les)* RF23 &


15/21

of tone #epth an# melo#iousnessD the tone must also "e mello! ten#er an# sustaine# orsinging i*e* the longest possi"le continuit$ of soun#* The instrument must len# itself tomaking goo# vi"ratos legatos an# portamentos* >* The neck of the guitar must "e perfectl$ flat !i#e enough particularl$ at the scre! an# comprise t!o full octaves*K3#itorBs note The neck here #escri"e# is that of the #etacha"le t$pe popular at the time!ith erman guitar makers* t is hel# in place "$ means of a scre! at the heel of the Cneck passing through it an# the "lock insi#e the "o#$ of the guitar* This scre! also performs an a##itional function in that !hen the instrument is properl$ #esigne# it is possi"le to a#ust for %action% "$ its means*L ?* The strings must "e place# lo! $et not solo! as to give rise to a %"u;;% on "eing pla$e# as is so often the case* * The pegs shoul# "e mechanical ho!ever !oo#en pegs !ill also "e accepte#* * The guitar must "emarke# "$ fine !orkmanship an# graceful simplicit$ at the same time* urface#ecorations !hen the$ #o not serve to improve the instrument musicall$ !ill not havean$ a##itional value for the competition* The contest !ill "e hel# in /russels !here all

compositions an# guitars must "e #ispatche# "efore


16/21

guitarists* 6e kne! them !ell an# tol# me that the$ #i# not #eserve m$ interest orattention* follo!e# his a#vice an# !ent to /ru+elles !here secure# a ver$ co;$apartment* n connection !ith m$ contest came in contact !ith Mr* .amke a profoun#musician an# master of counterpoint !ho ha# previousl$ live# in t* Peters"urg* 6e metme !ith open arms an# helpe# me in a most useful an# logical !a$* 6e imme#iatel$intro#uce# me to the "est artists an# the Professor of the 'onservator$* 4mong these!ere 'erve 2eonar# /la; /en#er Huffre an# man$ others* The$ !ere all happ$ toaccept m$ invitation to "e u#ges at the 'ontest* Mr* .amke also gave me the e+cellenta#viceto organi;e m$ o!n concert in or#er to intro#uce m$self as a guitarist to C thegeneral pu"lic* Mr* ein"urg .irector of the Philharmonic ociet$ of /ru+elles offere#me a hall for this purpose* t !as an e+cellent au#itorium* Naturall$ accepte# "oth thea#vice an# the hall* gave the concert on un#a$ r# at 1 P*M* 4"out ?00 people!ere attracte# to the concert* 4ll the sincere music lovers of /ru+elles atten#e#* pla$e#alone !ith no accompaniment* M$ guitar soun#e# so !ell that people entering the lo""$

of the hall coul# not "elieve that it !as a guitar "ut instea# mistook the soun#s as thoseof a piano* The real musical furore !as reache# !hen pla$e# m$ Ma;urka an# m$7enetian 'arnival* n these emplo$e# a special techni,ue #evelope# "$ me an#unkno!n to all other guitarists i*e* the theme is pla$e# on the "asses !hile the mostrapi# trill is "eing performe# on t!o strings "$ four fingers* M$ success !as tremen#ous*5hen finishe# a great cro!# of a#miring an# e+claiming people ha# surroun#e# me*4rtists stu#ents musicians professors etc* all shook m$ han#s an# em"race# me* !asaske# to repeat m$ Ma;urka !hich #i#* Then pla$e# an unpu"lishe# piece of Mert;one of his "rava#o &antasies calle# 3li+ir #B4mour !hich consi#er one of the most "rilliant guitar pieces*


17/21

Russian mone$* oon after m$ concert the Eur$ for the contest !as forme#D an# invite#all the mem"ers for a lu+urious #inner at .u"ostBs* There !ere nine of us* must sa$ afe! !or#s a"out that #inner "ecause never "efore nor since have ha# such amagnificent repast throughout its t!elve courses* 5e starte# !ith famous


18/21

occasion for one of the most "rilliant gatherings of the eason* 4mong the performers!ere 'erve !ho !as super" in his o!n three pieces for the cello* Then "eautiful $oung'ountess Rossi a #aughter of the famous Rossi-ontag sang t!o incompara"le songs*This !as follo!e# "$ Monsieur .amke !ho pla$e# an 4llegro from his latest$mphon$ for the piano* t !as a four-han# piece an# he !as assiste# "$ his !ife a pupilof 6en;elt* 4fter this pla$e# a piece "$ Mert; on a famous theme from %Pirate*% t !asa "rilliant an# melo#ious piece* t has one section !ritten entirel$ in harmonics !hichsoun#e# especiall$ "eautiful an# s!eet on m$ guitar* Thun#ering applause !as m$re!ar# after ha# finishe# pla$ing the piece a part of this rightfull$ "elonge# to m$#ecease# frien#* To!ar#s the en# of the soiree 'erve pla$e# again this time his o!n "rilliant ouvenir of 5arsa!* /arel$ ha# the last soun#s of his musicfa#e# !hen thecharming hostess approache# me !ith an irresisti"le smile* %n or#er to en# this soiree!e all appeal to $ou once more to take $our "eautiful instrument an# #elight us !ith the "e!itching tones that $ou kno! ho! to coa+ from it% sai# she* %5h$ /aroness%

ans!ere# %ho! #are pla$ after the cello pla$ing of Monsieur 'erve: M$ music !ill "ean outrage*% 4ll m$ arguments along these lines !ere in vain* ha# to o"e$ our "eautifulhostess* 4s !as preparing to strike the first chor#s Mr* .amke approache# me an#!hispere# %Please pla$ $our $mphonic &antas$*% 6o!ever #enie# his !ish since thought m$ &antas$ too long an# too serious for the moment* tol# him !oul# pla$instea# m$ 7enetian 'arnival* t !as not as C serious "ut e+tremel$ effective* 6e !ishe#me success* 4gain presse# m$ %"elove#% to m$ heart glance# over the "rilliantgathering of magnificentl$ #resse# men an# !omen mentall$ calle# for help on thesha#o!s of the great guitarists -- the #ecease# iuliani an# the living chult; -- an# "egan to pla$* finishe# the performance !ith m$ heart thun#ering lou#l$ in m$ chest* reali;e# that never "efore ha# performe# the 'arnival that "lin#ing ra#iant fire!ork

"etter than this time* t is impossi"le to #escri"e the ovation an# applause !hich follo!e#the final chor# of m$ pla$ing* t !as a ti#al !ave of the most sincere a#miration an#enthusiasm* Man$ rushe# for!ar# to clasp m$ han#s* The sister of m$ hostess /aroness.anetant remarke# alou# to Mr* .amke % !oul# never have "elieve# that the guitarcoul# pro#uce such marvelous effects ha# not hear# it m$self*% These t!o performances in a##ition to m$ concert at /ru+elles resulte# in completel$ reversing thecontention of some people that the guitar is not a concert instrument* 4 sill$ i#ea* 3ver$instrument can "ecome a concert instrument provi#e# the instrument is an e+cellent oneof its kin# an# that the performer is the "est availa"le* n a##ition it is necessar$ that the program shoul# "e cleverl$ an# artisticall$ arrange# an# that the concert hall itself shoul#correspon# in si;e an# acoustics !ith the instrument to "e use#* /ut ho! can one ever

!in an argument !ith ol#-fashione# conservative skeptics of music: .uring m$ sta$ in/ru+elles !as visite# "$ man$ amateur guitarists as !ell as other musicians* 4mongthem !ere t!o $oung paniar#s from i"raltar -- a pianist an# a violinist* The$ trie# to persua#e me to go to pain assuring me that their countr$men !oul# !elcome methroughout the lan#* 4ttracte# "$ their $outhful enthusiasm !as consi#ering a visit totheir poetical countr$D ho!ever m$ plans !ere change# for rather prosaic reasons*4nother interesting person often visite# me -- Mr* =ra#ier* 4lso panish he !as theliveliest ga$est an# most outspoken fello! ha# ever kno!n* 6e laughe# at the slightest provocation* 5hen he spoke he gesticulate# !ith hishan#s* 6e !oul# poun# out his o!ncompositions on the piano or !oul# pla$ an# sing panish folk songs on the guitar


19/21

snapping his fingers using his heels !histling etc* 6e !as preparing for the contest!hen a strange event put an en# to his aspirations* 6e ha# "een !orking on hiscomposition !hen pla$e# for him at his invitation Mert;Bs &antasie from %Montechi*%6e appeare# ver$ shocke# !hen ha# finishe#* u##enl$ he e+claime# %=ou kille#meA% Then he sho!e# me a piece of paper covere# !ith musical notations* %6ere% hesai# % "egan to !ork on a composition on e+actl$ the same theme from BMontechiB!hich $ou have ust pla$e#* onl$ feel no! that coul# never "e a"le to !rite an$thinge,ual to it in "eaut$* Therefore simpl$ give up*% 4n# he #i#* &our #a$s "efore the en#of the 'ontest ha# more visitors* M$ ol# frien# 'oste of Paris "rought four of hiscompositions for the contest* 4 panish guitarist name# 'hi"ra came for the same purpose* 'hi"ra ha# "een "orn in eville "ut he ha# live# in 2on#on an# Paris for the past t!ent$ $ears* 4"roa#* he ha# !ritten a large opera !hich ha# prove# a failure !hen pro#uce#* 6e entere# a composition for the contest* 4s a composer he prove# to "e ver$me#iocre* t !as true that his music ha# originalit$ an# !as ,uite #ifferent from an$thing

!ritten "$ iuliani or Mert;* t !as also true that the pieces !ere ver$ melo#ious an#s!eet more so !hen he himself pla$e# them* Their main #efect !as an over-allmonoton$ in general an# in #etails* The st$le !as poor an# suita"le onl$ for #ancing* Theharmon$ !as thin an# pale the tonalit$ impossi"l$ "oring the ke$ never rising a"ovet!o or three sharps* This seems to "e the palla#ium of all poor guitarists on !hom a ke$!ith one flat let alone t!o makes the same impression as !ater on h$#ropho"es*6o!ever for the sake of a varie# repertoire !hich shoul# inclu#e samples of #ifferentst$les an# manners learne# t!o of his compositions* eno$e# pla$ing theseD almost!ithout e+ception ever$one especiall$ the la#ies like# them* shall never forget the realfurore the$ arouse# !hen pla$e# them on the "oat #uring m$ trip a"oar# in 18* No! !oul# like to sa$ a fe! more !or#s a"out 'hi"ra as a performer on the guitar* C This is

something !hich !as most unusual an# remarka"le* 4s is the custom !ith almost allpanish guitarists he ha# gro!n ver$ long nails on his right han# !hich he hel# in ano"li,ue position !hile pla$ing not perpen#icularl$ as guitarists usuall$ #o* Moreoverhe #i# not actuall$ strike the string !ith the nail "ut simpl$ presse# it on the stringslipping off from the string onto the neck of the guitar* n this manner he !as a"lesomeho! to #ra! remarka"l$ ten#er #eep melo#ious soun#s from the instrument thee,ual of !hich ha# never "efore hear# from an$oneD not even from the great ani #e&erranti !ho !as kno!n for the softness of his pla$ing* The vi"rato !hen performe# "$'hi"ra !as reall$ #ivine his guitar actuall$ so""e# !aile# an# sighe#* 'hi"ra onl$sho!e# these remarka"le ,ualities in slo! tempos as in largo a#agio or an#ante* Themoment he ha# to pla$ allegro or presto the reverse si#e of the me#al "ecame evi#ent*

Then it "ecame impossi"le to slip from the string to the neck instea# it "ecame necessar$to strike the string* This cause# a #isagreea"le metallic soun# ,uite contrar$ to thevelvet$ tones of his !on#erful a#agios* n a !or# 'hi"raBs performance coul# give hislisteners the greatest #elight for a fe! #a$s "ut not over an$ e+ten#e# length of timesince "oth his manner an# his compositions "ecame tiresome* The art of music is likecooking one cannot live onl$ on monotonous s!eets* 4t times pepper an# mustar# arere,uire# to stir the taste* 5hen returne# home from /ru+elles the ne!s reache# me that'hi"ra ha# given a concert in one of /ru+ellesB music halls "ut ha# not ha# muchsuccess in spite of a large au#ience* !as sincerel$ sorr$ to hear that since consi#erhim one of the most talente# guitarists of his time* 6o!ever must finish m$ stor$ a"out


20/21

the guitar contest* The organi;ation an# preparation of the contest ha# given me muchtrou"le an# a goo# man$ hea#aches* n a##ition it !as ver$ e+pensive for me since ha# to pa$ for the transportation of the instruments as !ell as the compositions* The most#isagreea"le an# #ifficult task !as the process of #eciphering the compositions most of!hich #isclose# ignorance an# lack of talent* There !ere t!o or three !hich !eree+ceptions to this "esi#es the compositions of 'oste an# Mert;*


21/21

prices* The entire proce#ure of the contest !as pleasant an# interesting* t seems that allof the mem"ers of the u#ging panel like# one another* 4t our parting gave a gift toeach of them in the Russian manner i*e* gave each one of them t!o poun#s of e+cellenttea for !hich ha# sent to t* Peters"urg* This little token gift seeme# to give them thegreatest pleasure for the$ !ere all fon# of Russian tea* The ne+t morning maile# themone$ an# t!o letters of congratulations -- one to Mrs* Mert; !ith 800 francs an#another to chert;er !ith a similar enclosure* soon receive# from them ans!ers that!ere full of gratitu#e an# pleasure* M$ contest for !hich ha# "uilt up so much hopeen#e# in this manner* 4lasA The contest #i# not achieve !hat ha# ha# in min#D it #i# notuncover an$ ne! or !on#erful composer for the guitar !ho coul# fittingl$ occup$ the place left vacant "$ Mert;* hope that perhaps someone in the future !ill "e morefortunate than * 6o!ever for the revival of the guitar "elieve #i# ever$thing coul#ever$thing one person alone !ithout an$ support of s$mpathi;ers to encourage an# helphim coul# #o* &or all of eighteen $ears fought against ol#-fashione# conservatives

!ho #i# not !ant to recogni;e the guitar as a #ignifie# musical instrument* foughtagainst the in#ifference of the guitarists themselves against insults an# the mocker$ offello! musicians an# against a thousan# an# one other hin#rances on m$ course to placethe guitar an# its music on the plane it so !ell #eserves in the musical !orl#* M$greatest re!ar# is that in spite of all o##s an# opposition m$ #eep love for the guitar hasnever let m$ spirit #o!n in the fight for the #efense an# furtherance of this "elove#instrument*

T01 1N2$

12IT3!45 N3T1: Further references to the distinguished guitarist6 7eonard

5chul8 #ill he found in the follo#ing #orks:

2ie itarre und ihre Meister by Frits Buek6 pp$ -.9-)$ 2iccionario de uitarristas

by 2omingo Prat6 p$ +/'$

The uitar and Mandolin by 1$ Philip Bone6 pp$ +)/9+,$

;The Famous uitarists6; Boris

Makarov (Bobri) - The Memoirs of Makaroff

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