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8 2.00

GR-26 INTRODUCING1962June WILLIAMSASSER, Associate Professor of Music and Chair-

man of the Department of Music, North Carolina WesleyanCollege, Rocky Mount, North Carolina. Educated at theUniversity of North Carolina, Ph.D. degree in 1960. HisPh.D. dissertation was entitled "The Guitar Works of Fer-nando Sor". William Sasser is a pianist, choral conductor,and musicologist. He studied piano with Jan Schinhan,Ruth Geiger, and Friedrich Wuehrer; musicology with GlenHaydon, William S. Newman, and Wilton Mason at theUniversity of North Carolina.

Published and copyrighted 1962 by The Society of theClassic Guitar (a non-profit membership corporation),409 East 50th Street, New York 22, N. Y.

Editor: Vladimir BobriAssociate Editors:

RICHARD M. KEITH, Associate Professor of Organ andTheory at Howard University, Washington, D. C., receivedhis musical training at Kansas State University, the East-man School of Music, and at the University of Rome as aFulbright Scholar. His interest in lute and guitar tablaturesgrew out of his study of the guitar under SophoclesPapas.Recently he has acquired a vihuela and is now attemptingto cope with the dificult literature of that instrument. Thearticle here published is based on a paper read in 1959 be-fore the Washington chapter of the American Musicologi-cal Society.

Gregory d'Alessio, Franz C. HessContributing Editors: Suzanne Bloch,

Martha Nelson, Jack Duarte,Eithne Golden, Carl Miller

Layout and Typography: V. Bobri, F.C. HessCirculation: L. Trett

The Guitar Review is issued irregularly ... it is sold involume form and can be ordered serially by either threeor six consecutive issues.

SUBSCRIPTIONS:No, 25-30Sixconsecutive issues....Three consecutive issuesSinglecopies . ....Available back numbers

$8.00$4.50$2.00$2.00

DERIC KNNARD, born in 1901 in Buenos Aires, has spentmost of his life in France and England. VWhile at CambridgeUniversity, he became interested in the guitar but had topursue his study of the instrument alone, until he metEmilio Pujol in 1927. Later he also received much help fromMario Maccaferri. About 1935 he became interested in16thand 17th century guitar tablatures as well as in the laterlute tablatures. A number of his transcriptions havebeenpublished by Schott.

CONTENTS :

ArticlesThe Guitar Cult in the Courts

of Louis XIV andCharles II Richard KeithA Note on Francesco Corbetta

To the Editors of THE GUITARREVIEWIn issue No. 24 of our beloved Guitar Review, you ran astory reporting on the Guitar in Washington, which I hadprepared. Subsequently, it seems that the veracity of oneof the paragraphs was questioned.

Deric Kennardand His TablatureIn Search of SorCatalogue of Sor's Compositions William SasserThe Guitar on DiscsPublished Music for the Guitar

MusicTombeau de Mr. Franciscque Corbette

William Sasser

Carl MillerCarl Miller Since a charge of inaccuracy is a serious matter to a pro-

fessional writer, I checked with my source of information,and am happy to tell the Editors of THE GUITARREVIEWthat they were not in error in the published material.Robert de Visée

transc. by Richard Keith Verifying the statement in question, I will be happy tohave you check the appointment record books of Mr. Soph-ocles Papas, esteemed and respected teacher of the guitarin Washington for many years. The record shows that, ac-cording to Mr. Papas' confirming letter to me:

Prelude, Allemande and Giguefrom "La Guitarre Royalle"by Francesco Corbetta

transcribed by Deric Kennard

George GiustiAaron Sherer had appointments for lessons with

Mr. Papas beginning September 1st, 1953; took les-sons regularly on Tues days and Fridays to and includ-ing May 21st, 1954. He missed six lessons only in thatperiod due to holidays, etc., and had a total of 67 hoursstudy with Mr. Papas during thatseason.I will appreciate having the fact established in a subse

Cover Design18th Century French EngravingInterior of a Luthier's Atelier

The opinions expressed in the pages of THE GUITAR REVIEW are thoseof the authors and no not necessarily reflect the opinions of the Editors.

Unsolicited manuscripts must be accompanied by return postage,and while every possible care and attention will be accorded such

ributions, THE GUITAR REVIEW will not be responsible for loss quent issue of The Guitar Review, that my statement in the#24 issue, was based on a specific record.or dar

All work for THE GUITAR REVIEW, such as drawings, manuscripts,art work, make up, etc., whether commissioned or unsolicited, is done Mildred O. Waughat no recompense to the contributor.Entire contents copyrighted by THE SOCIETY OF THE CLASSIC GUITAR. 5808 Hitt Ave., McLean, Virginia.