Bibliography on Russian Guitar

Bibliography on Russian Guitar

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A Basic Bibliography on the Guitar in Russia in 19th- and 20th-Century compiled by JcG

1. Russian sources in chronological order

Books and Essays from 1700 to 1899 1.

Jakov Shtelin, Nahr von Die Musik in Russland , St.Petersburg 1769. This book was re-issued in 1935 bearing the title Izvestija o muzyke v Rossii Muzykalnoe nasledie (News nasledie (News on Russian Music - Musical Inheritance). A copy at Glinka Museum (f. 359, N° 71, l. 231-232). The writer Jakov Shtelin, a Petersburg dweller, was a member and a professor of the Russian Science Academy and an encyclopedist numbered as being one of the earliest Russian musical historians. He was active until 1740 as columnist for the newspaper S.Peterburgskie S.Peterburgskie vedomosti . He was able to provide us with the earliest indications on the guitar cultivation in Russia. This is in all probability the first source on the appearance of guitar in Russia. The author describes it as follows: "At the end of the telling about the musical news and curiosity at court of Elizabeth, one should mention also the Italian kitarra [sic], (La Chitarra [sic, in Latin], Latin], namely the "gitara" [in Russian] together whit his countryman mandolin, brought thanks to the Italians, it appeared in St. Petersburg and Moscow, and he could not been employed, as in England, for the accompaniment of loving sighs under the front door of the lover, in our country where neither night Serenate [sic] nor the sighs along the streets are usual". Shtelin published also an Opera bearing the title "Triton", as a separate booklet under the name "Music and ballet in 18th-Century Russia".

2.

Nikolaj Petrovich Makarov, Dve sestrichki (Two (Two little sisters), Bank vainglory), Stradalcheskij (The cross of Tscheslavija (Bank of vainglory), Stradalcheskij krest (The the martyrdom), St.-Petersburg 1861. This romances were signed by the author with the pseudonym "Ghermochen Trechzvevdockin". These are three quite big volumes of literary and autobiographical character. The author N.P. Makarov (1810-1890) was an important 6-string guitarist, highly educated, eminent lexicographer (it is mentioned he was also author of three dictionary) and the writer of the text of a famous Romance by Guriliev ("Odnozvuchno gremit kolokolcik"). In his books one can find a vivid description of the guitar history in its decay period.

3.

Mikhail Stakhovich, Istorija semistrunnoj gitary (History (History of the seven-string guitar), St.Petersburg, ed. Stellovski, 1864. This book is the re-issue of the original text appeared in the magazine "Moskvitjanin", Moscow 1854, N°4 and "Akkord", 1864, N° 14. This very important text, is mentioned as one of the main source for any research in the field of history of guitar in Russia by all Russian musicologists.

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4.

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Nikolaj Makarov, Quelques régles du jeu superior de la guitar (Some rules of superior performance on the guitar)), St.-Petersburg 1874. Bilingual edition (Russian - French) including a Preface and 9 "Rules".

5.

Nikolaj Makarov, Moi semidesjatiletnie vospominanja i s tem vmeste moja predsmertnaja ispoved (My 50 years of remembering and with them my final confession), St.-Petersburg 1881. Here it is also re-issued the previous work "Zadushevnaja ispoved", published in the magazine "Sovremennik" in November 1859.

6.

Aleksandr Faminizyn, Domra i srodnye ej instrumenty russkogo naroda (Domra and other similar instruments of the Russian people), St.-Petersburg 1891. This is a very erudite work on the use of the plucked instruments. The volume 6 is dedicated to the guitar in Russia and in the West. The book was repeatedly quoted by the American musicologist Matanya Ophee, (also erroneously with the only first name of the author, Aleksandr Sergeevich), see the bibliography of his article "La guitar in Russia" in Il "Fronimo" op. cit.

7.

Valerian Rusanov, Gitara i gitaristy (Guitar and guitarists), Moscow 1899. This is a detailed biography of the Russian guitarist Mikhail T. Vyssotski (1791-1837).

Books and Essays from 1900 up today 8.

Valerian Rusanov, Gitara v Rossii (Guitar in Russia), Moscow 1901. This essay contains the first detailed biography of Andrei Ossipovich Sychra (1773-1850) and a the mention of his complete works, and also the critics of the works of Stakhovich (see ref. 3).

9.

Sergej Zajaizkii, Internatzionalnyj soyuz gitaristov (The International Union of guitarists), Moscow 1902. In this volume are included the biographies of the major guitarists of the period, and also of the International Association of guitarists in München in the years 1900-1901. The author, Moscow Sergej Spirindovich Zajazkin (1850-1910) was a pupil of Sychra and Vyssotski and was an active performer and propagandist.

10.

P. Chebodko, Istoriceskaja spravka o gitare (Historical Notes on the Guitar), Kiev 1910 (or 1911), 15 pages. This contains an authorized summary of the previous works of Valerian Rusanov.

11.

Josef Zuth, Handbuch der Laute und Gitarre Guberner Hierhammer,


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Vienna 1926. The notes on Russia were written by Vladimir Mashkevich. 12.

Aleksandr Martinsen, Neskolko slov o gitare (Some words on the guitar), Moscow 1927, 24 pages This is a self-produced edition by the author, printed in 1,000 copies. It is devoted to the arrival of Andrés Segovia in Russia, whose here is a portrait "while he executes a pizzicato", and some piece of history of the Russian seven-string guitar.

13.

P. Stolpjanskij, Starij Peterburg. Muzyka i muzitzirovanie v starom Peterburge (Old Peterburg. The Music and the Musicians in the old City), Leningrad 1927. Not checked.

14.

Pjotr Agafoshin, Novoe o gitare (News on the guitar), Moscow 1928, 58 pages. Interesting pamphlets about the history of 6-string guitar, with some attacks against the 7-string guitar.

15.

Boris Ejchenbaum, Marshrut v bessmertie. Zhizn i podvighi ciuchlomskogo dvorjanina Nikolaja Petrovicia Makarova (Root towards the immortality. The life and the adventures of the noble Nikolaj Petrovic Makarov), Moscow 1933. It is here re-issued the volume of the "Memories" of Makarov, with many satirical notes and critics.

16.

Domingo Prat, Diccionario biográfico, bibliográfico, histórico, crítico, de guitarras, guitarristas, guitarreros , Casa Romero y Fernandez , Buenos Aires 1933, vol. I-IV. The entries on the Russian guitar are cured by Valdimir Pavlovic Mashkevich (1888-1971). Modern edition by Facsimile, due to Orphée Edition 1986.

17.

M. Mejcik, Paganini, Moscow 1934. It includes some information on Paganini as guitarist.

18.

V. M. Kuznetzov, Analiz stroja 7-mi i 6-ti strunnoj gitary (Analysis of the tuning of the 7- and 6-string guitar), Moscow 1935. This essay is re-issued in the volume by Yablokov (ref. 41).

19.

K. A. Kuznetzov, Muzhikalno-istoriceskie portrety , Muzgiz, Moscow


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1937. This essay is re-issued in the volume by Yablokov (ref. 41). 20.

R. Aloys Mooser, Annales de la Musique et des Musiciens en Russie au XVIIIe siècle, Geneva, Editions de Mont-Blanc, 1948-51, vol. II. Probably the most important essay written by a not-Russian author, it includes news about the guitarists Giuseppe Santi (who was often mistook in Russian sources with the great composer Giuseppe Sarti , as reported also in M. Ophee, see "il Fronimo", op. cit.) at p. 610 - 678, about Batik (p. 645-646), Kamenski (p. 719), Kouchenet (p. 767) and mention all the works for guitar by Carlo Canobbio (p. 250-2).

21.

M. Ivanov, Russkaja semistrunnaja gitara (The Russian seven-string guitar), Moscow-Leningrad 1948, 152 pages. The introduction is written by Boris Asafiev (1884-1949). The printed copies of the book were 6,000.

22.

V. Manujlov, Gitarist Vyssotskij i Lermontov - Leningradskij almanach (The guitarist Vyssotskij and [the poet] Lermontov Almanac of Leningrad), vol. 9, 1954. Not checked.

23.

D. Rogal-Levizkij, Sovremennje orkestr (The Contemporary Orchestra), Moscow 1956. In the vol. 4 is presentated the guitar, with some music examples.

24.

Boris A. Perott, Incontro con Makaroff (trasl. M. Ablòniz), in "L'Arte Chitarristica", ed. Bèrben n. 55 anno X, Modena Gen.-Febr. 1956. Translation from English (the original source is unknown to me) of the story of the friendship between B.A. Perott and N.P. Makarov.

25.

Boris Volman, Gitara v Rossii (La guitar in Russia), Leningrad, Muzgiz, 1961, 180 pages. Printed in 10,000 copies. The first appearance of the guitar in Russia, its scholars, the periods of flourishing and decay, its perspectives. The chapter "The guitar and the Russian song" deals with the genesis of the song "Ekhal kozak za Dunaj" (The kosak went to Danube), and its fortune in Western countries (also described by the musicologist M. Ophee).

26.

I. Jampolskij, Paganini. Zhizn i tvorcestvo (Paganini. Life and Work), Muzika 1961. At p. 292 it deals on N. Paganini as a guitarist.

27.

Powrozniak Józef, Gitara od A do Z , Polskie Wydawnictwo


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Muzyczne 1966. Biographies and news about the guitar in Russia are here contained, with few pictures. 28.

Boris Volman, Gitara i Gitaristy (The guitar and the guitarists), Muzika, Leningrad 1968, 188 pages. Printed in 10,000 copies. History of the 6-string guitar in Europe and Russia, with short bibliographies of its performers. In the book are mentioned 605 names, of whom 134 are Russian and Soviet. An entire chapter is devoted to the A.Segovia's activity.

29.

A. Vodarsky-Shiraeff, Russian Composers and Musicians, A Biographical Dictionary , Da Capo Press, New York, 1969. Brief biographic dictionary, with some dozens of Russian guitarists of the 19th- and early 20th-century.

30.

Lev Voinov e Vitalij Derun, Tvoj drug gitara (La tua amica chitarra), ed. Sredne-Uralskoe knizhnoe, Sverdlosk 1970, 56 pages. Printed in 75,000 copies. The authors are among the most known scholar and historic now in Russia, but their book just popularizes the guitar.

31.

B. Volman, Russkie notnye izdanija XIX veka (The Russian editions of 19th-century), Muzika, Leningrad 1970, 215 pages. It lists many Russian editions in 19th-century, the guitar can be found on the p. 19, 22, 27-29, 54-58, 72 etc.

32.

Boris Volman, Gitara (Guitar), Muzika, Moscow 1972, 62 pages. Printed in 25,000 copies. Pocket book of the serie "Musical instruments", with short description of history with few music examples and pictures.

33.

P. Meleshko, Kak delat perelozhenja dlja semistrunnoj gitary (How to conduct a transcription for the 6-string guitar), Moscow 1975. Here are explained many suggestions and examples on the subject (how to choose the keys, etc.)

34.

Miron Vajsbord, Isaac Albeniz , Sovietskij Kompozitor, Moscow 1977, pages 152. Printed in 10,000 copies. Here are mentioned all the recordings by A. Segovia, M. Llobet and M.L. Anido.

35.

I. Martynov, Muzyka Ispanii (The music of Spain), Sovietskij Kompozitor, Moscow 1977, 359 pages. It contains a comparison between the pianoforte and guitar under the influence of the guitar in the works of Albeniz, Granados and Falla.


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36.

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Francois-Rene Tranchefott, Les instruments de musique dans le monde, Vol. I, Editions du Seuil, 1980. Folk instruments in Russia (domra, Ucrainian lute-bandurria, etc).

37.

Miron Vajsbord, Andres Segovia, Muzika, Moscow 1981, 120 pages. Number of copies: 20,000. The biography by Andrés Segovia, written by Miron Abramovich Vajsbord, wellknown pianist and musicologist. It is a very detailed source about the Segovia's journeys in Russia. Here are mentioned all the Segovia's transcriptions, all his recordings, among which the ones by Melodija LPs, almost unknown in the Western.

38.

A. Larin, Gitara v Rossi. Obzor literatury (The guitar in Russia. Review of literature), article on "Almanach bibliofila" XI, Moscow 1981, p. 142-153. Number of copies: 50,000. This is probably among the first attempt to generalize the primary and secondary sources about the guitar in Russia.

39.

V. Poponov, Russkaja narodnaja instrumentalnaja muzika (The Russian popolar instrumental music), Znanie, Moscow 1984, 112 pagg., tir.: 50,000.

40. T. Shcerbakova, Tziganskoe muzikalnoe isponitelstvo i tvorcestvo v Rossii (The musical performance in the gipsy creativity in Russia) , Muzika, Moscow 1984, pages 176. Printed in 25,000 copies. It includes an extended bibliography on the subject. 41.

V. Maksimenko, Graficheskoe oformlenie notnogo teksta dlja gitary (Graphical formulation of the music guitar text), Sovietskij Kompozitor, Moscow 1984. About guitar notation for classic music andd flamenco (128 pages).

42.

A. Nikolaev, Nekotorye voprosy artikuljatzij na nachalnom etape obucenija v klasse gitary (Some problems of articulations in the first stage of teaching in the class of guitar), Muzika, Leningrad 1985, pages 59-70. This article was published in the vol. 6 of the serie "problems of musical pedagogy".

43.

V. Chvatov, Vospominjanija, Stati, pisma (Ricordi, articoli, lettere), Sovietskij Kompozitor, Moscow 1985, pages 282. Printed in 3350 copies. The volume is devoted to the orchestra of folk instruments of the choir "Pjatnitzkij", but


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includes an article by Chvatov on the 7-string guitar. 44.

Josef Powrozniak, Guitar Lexicon , Verlag Neue Musik Berlin, 1986. Fundamental text for the guitar history, unluckily with many drawbacks.

45.

Nikita Koshkin, Interview in Guitar International, September 1986. Early interview with this Russian composer, the many subsequent ones will not be mentioned.

46.

Igor Rekhin, "The world of the guitar" in "Sovietskaja Muzyka" april 1986. One of the article by I. Rekhin, who published " more then 40" ones

47.

S. Gazarjan, Rasskaz o gitare (Story about the guitar), Detskaja literatura, Mosca 1987, 48 pages Printed in 20,000 copies. An overview of the various types of guitars, their history and a chapter on A. Segovia.

48.

"Gitara", musical almanac, first exit 1987 Printed in 10,000 copies. It includes a collection of music and articles by A. Nazarov "About the guitar", Evgenij Larichev "The 6-string guitar", L. Menro e A. Shirjalin "La guitar a sette corde", Yuri Rimkavicjus "Il canto leggendario della chitarra (su M. Sokolovski)", A. Shirjalin "Osannato da Lermontov (su Vissotskij)", E. Laricev "La tecnica di Segovia", A. Kuznetzov "La guitar nel jazz".

49.

A. Kolosov, Gitara Alekseja Kuznetzova (The guitar by Aleksej Kuznetzov), Moscow 1987, p. 268-272. Articolo contained in the book "Soviet Jazz. Problems. Evolution. Masters.".

50.

V. M. Musatov E V. I. Popov, Gitara, obzor i kratkaia annotatzia russkhikh pechatnykh materialov (The guitar, a bibliography with a short annotation of the printed materials), Sverdlosk (Ekaterinburg), 1988, 67 pages. Valuable attempt to write a complete bibliography about the subject. The book, updated until 1988, lists 50 printed "books", 9 "typewritten books", 14 "catalogs", 8 "programs of study and methodic instructions", 147 "articles in magazines" from 1817, 335 "articles in newspapers" from 1801, 59 "schools and autodidactical methods" from the Vysotski's School (1866).

e A.A.V.V., Klassiceskaja Gitara v Rossii i SSSR (The classical guitar in Russia and USSR), Russkaja Entziklopedija, Tyumen-Ekaterinburg 1992, about 1300 pages

51. Yablokov

The volume was printed in 3,000 copies. It includes as annex: 1. V.M. Kuznetsov - " Analisis of the guitar tunings" (12 pages), 2. V.A: Rusanov - " The musical palette of the guitar" (8 pages); 3. "The guitar in rhymes"


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(59 pages). It is an impressive reprint of a part of the voluminous Mashkevich's archive (preserved at the Glinka's Museum in Moscow). The volume bears as a subtitle "Musical-literary Biographycal Dictionarynewsletter of the Russian and Soviet scholars of the guitar" ; the biographies are listed alphabetically (by the 29 initial cirillic letters). The redactors' committee comprises, beside many cultural and artistic societies of Tyumen, these authors: Mikhail S. Yablokov, guitar teacher at the Tyumen Institute, Anastasija V. Bàrdina, concertist of seven-string Russian guitar, V. A. Danilov, doctor of historical sciences, Vitalij M. Derun, guitar teacher at the Ural Conservatory, Ph. Dr. N.D. Zotov and S.P. Suroviatin. The pages are printed in two columns, numbered by columns (from 3 to 2108 for the numbered pages, but at the end there is a long unnumbered photographic file of about 120 pages). The dictionary lists a great number of Russian guitar professionals and aficionados, coming from all the former Soviet Union, until about 1991, and just some composers of the same area (the listing of them is quite uncomplete). It includes a complete Russian translation of the well known Method for Guitar by Fernando Sor. In the internal pages the photos are absent and the musical examples are almost rare, but there is space for the long biographies and the list of works of the musicians. The chapter "The Guitarra in Rhymes" is a collection of hundreds poetries and songs inspired by the guitar, from F.Garcia Lorca to Turgenev (included Gitara by Evgenij Evtushenko and Vinceremos by Pablo Neruda). The photos archive begin with the early 19th-century, coming up the newest Russian guitar generation, with many reproductions of very old guitars, and complete genealogies of pupils. There is only a photo by Andrés Segovia together with Piotr Isakov (during the Fifthies). Unluckily, thers is no index of all the bulk of materials contained therein. 52.

Liudmila Rapatskaia, La musique pour guitare du compositeur moscovite Igor REKHIN, Les Cahier de la Guitare et de la Musique no. 48, 1993, Paris. Analysis of the music by this composer, Moscow dweller.

53.

Gitarnyj Almanakh, ed. V.Ustinov, Nachala-Press, Vikom 1993. Guitar periodical, to my knowledge it exited in one number only.

54.

Marco Bazzotti, La chitarra degli zar , Seicorde no. 43, Jan.-Feb. 1994, p. 12-19. A divulgative summary of aspects related to the subject.

55.

Eric Godel-Cecco, Petr Ivanovic Panin: Invitation au voyage, Les Cahiers de la Guitare et de la Musique n°50, 1994, Paris.

56.

Gitarist' No. 1, 2, 3 (1993, 1994, 1996), Guitar magazine reissued in Moscow by Volkov and I. Rekhin.

57.

A. Shirjanin, Poema o gitare (Poem on the Guitar), Moscow 1994. Summary of Russian guitar schools for 6- and 7-string guitar.

58.

Russian National Library Svodnij Katalog Rossijskikh Notnykh Izdanij, Tom 1: XVIII vek (General catalog of Russian musical printed materials -


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Part 1: 18th-century) It lists many guitar editions of the period, with Latin transliterations. The guitar is here represented by songs with guitar(s) accompaniment, or guitar duo, by the (presumably) Frenchmen J.B. Hainglaise, A.F. Millet and Dalayrac, Martin-y-Soler, the Russian Koslovsky, M.me Kourakin, B.N. Dalgourokin, D.P. Boutourlin, and the Countess Golowin, the Italian Mortellari, G.B. Pergolesi, Rosselli, Tarchi, Solzi, Missini, T. Saporiti, Marrone, V. Righini, P. Muschietti, etc. (from pages 77 to 87). The other part are awaited. 59.

Articles M. Ophee: "The Memoirs of Makaroff", in Soundboard IX/3 - 1982 Fall. 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. "La Chitarra in Russia: osservazioni dall’Occidente", in Il Fronimo XV/58 1987 Jan. A discussion of players and compositions of and for the guitar in Russia (in Italian). M. Ophee: "The Musical Activity of Boris Perott in Russia", in Classical Guitar X/4 1991 Dec. Translation and annotation of two reviews of Perott’s comcerts in pre-Revolutionary Russia. "Der Patriarch der russischen Gitarristen: Andrei Osipovich Sychra", in Gitarre & Laute XV/6, 1993 Nov/Dec. Also appeared in CG XII 4 and 5. In German. 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. "Slavic Robin Hoods, or Hoodlums?" in The Orphée Catalogue, 1993. Discusses the pirating of music publications by many Soviet guitarists "Slawische Robin Hoods—oder bloß gemeine Räuber?" in Gitarre & Laute XV/5, 1993 Sept/Oct. Questions of Soviet and Russian guitarists’ ignorance, willful or otherwise, of international copyright. In German. "The Patriarch of Russian Guitarists—Andrei Osipovich Sychra", in Classical Guitar XII/5, 1994 Jan. 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. "Andrei Osipovich Sychra", in Gendai Guitar XXVII/350 1994 July. Discusses concert etudes; includes edition for 6-string guitar of "Not a Single Path in the Field". In Japanese. "Variations of Carnival de Venice" by N. Makaroff; Soundboard IX/3 1982 Fall. Annotation and edition of the piece. 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). "Piccolo Fantasia," by Ivan Smertseevich Ovsianiko-Kulikovski; Soundboard IX/2 1982 Summer. As Shutka O. Yerundovski (a fictitious persona created jointly with George Warren). Annotation and edition of the piece. "Etude" by Nikolai Alexandrov; Soundboard XVII/2 1990 Summer. Annotation/question and edition of the piece. "Tarantella" by Alexandr Mikhailovich Ivanov-Kramskoi; Soundboard XVII/3 1990 Fall. "Svetlana’s Lullaby" by Tikhon Khrennikov; Soundboard XVIII/1 1991 Spring. Annotation and edition of the piece. "The Spinster" by Mikhail Timofeevich Vyssotsky; Soundboard XVIII/4 1992 Winter. Annotation and edition of the piece. "The Post" by Marek Sokolovski; Soundboard XIX/2 1992 Summer. Annotation, with biographical info on the composer, and edition of the piece, plus mea culpa re The Spinster. "Drei Romane von Agatha Christie und amerikanischer Rock’n Roll", in Gitarre & Laute XV/1 1993 Jan/Feb. Interviewed by Peter Päffgen for G&L; discusses controversial writings, Segovia, Russian guitar music, recent publications. Introduction, Historical Notes, and About This Edition: The Russian Collection, vol. 1, 1986.


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General history of guitar in Russia, with information 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. From the Editor: Music by Soviet Composers (Russian Collection Volume V), 1989. Biographies of the composers and brief discussion of the edition. Introduction, About this Edition: Andrei Sychra, Four Concert Etudes (Russian Collection Volume II), 1992. Biography of Sychra, historical commentary on the etudes, and performance discussion. Editor’s Preface: Boris Asafiev, Music for Guitar Solo (Russian Collection Volume VI) 1992. Asafiev’s relationship to the guitar and commentary on the manuscripts and editorial procedures. Introduction to Nocturne by Vasilii Sarenko. The Orphée Catalogue, 1993. Brief note on the arrangement for 6-string guitar, dedicated to Leif Christensen. Introduction: Music by St. Petersburg Composers for Classical Guitar (Russia, Collection vol. 4) 1994. Detailed biographical info and commentary on the pieces, much of it on Asafiev, Prelude et Valse. Editor’s Preface: Sergei Rudnev, Russian Folk Songs for classical guitar (Russian Collection Volume III) 1994. Discusses the genesis of this edition and of the folk songs which it emulates. 60.

Oleg Timofeyev and Marco Bazzotti, La chitarra eptacorde nella cultura russa dell'Ottocento , no. 104 of "il Fronimo" , p. 27-40, Milan 1998. History and anecdoctes of the Russian 7-string guitar of the Golden Age.

End Notes This bibliography, due to its nature, is forcedly uncompleted and a work in fieri . The present version will be keep updated as soon as possible to the author. I will be grateful to anybody who wish to help me with translations and insertion of new data. I wish to thank Mr Oleg V. Timofeyev for his suggestions and corrections.

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