uring the past few decades we have been fortunate to see the steady rise of interest in classic guitar from both the guitarist/musician's point of view and that of the public. As we now enter into the next generation of guitarists, I suggest that we take a close look at our audiences and ourselves; honestly evaluate our motives and goals; and sagaciously follow our hearts in the pursuit of the boundless beauty that both our predecessors and ourselves have envisioned.

This brings us to a somewhat frightening question. Since we are all dependent in one way or another on the public (our audience), what is being done to insure that their interest will continue in its upward spiral? After all, only the fool-hardly guitarist would not insure his instrument, yet very few even think of insuring their audience. I'm not going to suggest that we attempt to appease our audiences with programs of encore pieces, quite the contrary, the issue is of much greater depth.

All of us have had the experience of attending a guitar recital perfectly adequate and correct in every respect, yet left the concert hall feeling unmoved and untouched. There is a trend emerging among present generation guitarists which, in a superficial manner, momentarily appeases the audience with a brilliant display of technique, but often lacks the individuality, conviction, and temperament which originally compelled audiences to renew their love for the instrument and its music year after year. C.P.E. Bach in his Essays on the True Art of Playing Keyboard Instruments addressed this subject when he wrote: "Keyboardists whose chief asset is mere technique astound us with their prowess without ever touching our sensibilities. They overwhelm our hearing without satisfying it and stun the mind without moving it."1 How easily this observation might describe many present generation guitarists as well.

Following a visit to Mainland, China, members of the Boston Symphony Orchestra expressed that they were very impressed by the "soul" of the Chinese musicians - manifested in their playing with "heart." This is consistent with the ancient Chinese views on music; that is, the primary role of music is not to please the senses, but to convey eternal truths and make men receptive to these truths. Ancient legend attributes the control of the elements and the course of the seasons to the zither playing of Music Master Wen of Cheng. Before being able to play the zither with this power, it was said that he had to "reach" the music in his own heart. C.P.E. Bach puts it succinctly when he states, "A musician cannot move others unless he too is moved."2

We, as guitarists, must remember what a remarkable instrument we play. If Wen of Cheng was capable of such unbelievable feats with his zither, why is it that more and more guitarists fail to achieve a seemingly easier and more obtainable feat - moving their audience? The inherent power and compass of the guitar is best described in a statement the Paris journals wrote following a concert in 1822 by Fernando Sor, He charmed his audience by an instrument which might from its appearance have been taken for a guitar, but judging by its harmony must have been a complete orchestra enclosed in a small compass."3

In assessing the qualities, which constitute a compelling, moving guitar performance I would suggest that a truly musical and artistic temperament is the first and most important requirement. As I am sure you will agree, this is certainly much rare than a fine technique. Creative imagination is an integral part of such temperament, along with the ability to play with seeming spontaneity and unforced naturalness. A convincing and imaginative rubato is an indication of these qualities, and perhaps one of the most striking features in a fine performance. Vibrato, being the "soul" of the guitar and that feature which separates it from the majority of other chordal instruments, must be used with taste and good judgment much as the vibrato of a fine vocalist. Other elements present in an outstanding performance in my view are the following:

Intensity

1.	The ability to concentrate consistently.
2.	The sincerity of the performer as to his convictions or strong feelings about the music.
3.	Definite intention for each and every note is a result of very definite ideas on the part of the performer as to the meaning, moods, form, style of the music. This makes possible the "enlivening" of the music.
4.	Vitality in playing is an essential component of a performance marked by intensity.
5.	Wide range of dynamic gradations (in music of the periods in which this is acceptable and desirable.)

Balance

1.	Weighing carefully the relative importance of the voices or lines, the result being a tasteful, sensitive, and comprehensive projection of the various components found in the music.
2.	Imbuement of each voice and each note with an individuality and characteristic truly its own in relation to its significance in the composition.

Artistic Integrity

1.

The ability to assess the composer's intentions and to interpret them as faithfully as possible within the generally accepted framework of a particular style. (This should not be considered a slavish commitment to existing authoritative interpretations. The individuality of an outstanding performer is always apparent, but should never take precedence over the composer's basic intentions nor prove distracting.)

Expansiveness, Depth, Breadth

1.	This is partially achieved by keeping in mind the overall sweep of the musical line and the larger aspects of the form, as contrasted with a more fragmentary view and projection of music.
2.	Eloquent and sensitive delineation of mood and intensity of projection of the various moods. A creative imagination is a ''must'' in the achievement of this goal.
3.	Building to definite climaxes and a thorough assessment of their relative importance in the context of the entire piece.
4.	Excitement is created by bravura playing when the mastery of technique is so thorough that one can take "chances" and avoid the impression of a "careful" performance, which is apt to be dull.
5.	Allowing phrases to breath, and modulations to be well established and accepted eases unnecessary tensions often experienced by listeners.

Comprehension and Realization of the Organic Unity in a Work

1.	A fine discrimination as to the relations within a work relative to form, recurrence of ideas, metamorphosis, etc. and a realization or projection of these interrelationships in the performance.

"Musical poise" or serenity is the result of a balance between a master of technique and a sincere conviction that one understands and projects the essence or meaning of the music. This is one of the hallmarks of a truly inspiring and compelling performance. The performer must be so self-assured as to the essence and interpretation of the music that we, the listeners, share this feeling and find the music as satisfying and exciting as the performer perceives it to be. In a truly dynamic performance we are compelled to share the guitarist's feelings about the music, and indeed, consider that the artist's view of the music is entirely our own.

As guitarists of this new generation, we must strive to achieve these elements in our playing --reaching first into our hearts and then out to "touch" our audiences. As listeners we must demand this from other performers --supporting those who achieve this goal and encouraging those who have the foresight to go in this direction. As teachers we must impress upon our students the importance of individuality, conviction, and temperament in playing. We must instill in this future generation the ability to "move" their audiences. As Plato phrases it, "Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul."4 An endeavor to pursue these goals will undoubtedly insure the future of the classic guitar.

Those who painfully and with bleeding fingers have scaled the crags of mere technical mastery over the guitar have yet to master the much more profound and beautiful aspect of playing which will guarantee the guitar's significant place in the perpetuation and inspiration of great performances and music.

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Foot Notes
1 C.P.E. Bach, Essay on the True Art of Playing Keyboard Instruments, trans. and ed. William J. Mitchell (New York: W. W. Norton & Company, Inc., 1949), p. 147.

2 Ibid. p. 152.

3 P.J. Bone, The Guitar and Mandolin (London: Schott & Company, Ltd., 1972) pp. 337-338.

4 Plato, The Republic, Book III, p. 401.