Papers presented in 2018

Luis Briso de Montiano, ‘Some Spanish (?) guitar techniques as seen by some French (?) guitarists’

Taro Takeuchi, ‘An interesting Georgian lute by Michael Rauche, 1767’

Richard Savino, ‘A collection of realized 17th century continuo parts for baroque guitar, recently discovered in Spain’

James Westbrook, ‘Beyond Six Strings: nineteenth-century attempts to increase the compass of the guitar’

Gerhard Penn, ‘A walking tour with Mauro Giuliani in Vienna – locations, persons, events’

Erik Stenstadvold, ‘The early editions of Sor’s music: problems of authenticity’

Kenneth Sparr (Special Guest) ‘Barthélemy Trille Labarre ‘professeur de guitar et compositeur – Élève d’Haydn”

Jelma van Amersfoort, ‘Teaching and Learning the Guitar in the Netherlands (1750-1810)’

Sarah Clarke (Andrew Britton Fellow): ‘Who taught the Guitar in Nineteenth-Century England?’

Christopher Page, ‘The Peninsular War of 1807-1814 and the vogue for the guitar in Regency England’

Thomas Heck, ‘Collective Thinking at the Service of Guitar Iconography: How Does ARTSTOR help?’



Participants of the 2018 colloquium. Standing from left to right: Luis Briso de Montiano, Taro Takeuchi, Gerhard Penn, Erik Stenstadvold, Jelma van Amersfoort, Margaret Whitehouse, Kenneth Sparr, Christopher Page, James Westbrook, Paul Sparks, Richard Savino. Seated: Thomas Heck, Brian Whitehouse, Sarah Clarke.


After the concert: Richard Savino, baroque guitar, Jelma van Amersfoort, six-course guitar, Taro Takeuchi, Georgian lute, Paul Sparks, mandolin.

Papers presented in 2017

Erik Stenstadvold ‘Some detective work in guitar scholarship’

Sarah Clarke ‘Guitar Players in an English Victorian Country House’

Taro Takeuchi ‘The Regency lute and its music’

Reggie Lawrence ‘The Almost-Invisible Elephants of the Guitar’

Gerhard Penn ‘Matteo Bevilacqua (1768-1821): Composer, Guitarist and Poet’

Samantha Muir ‘Machete de Braga of Madeira and the music of Cândido Drumond de Vasconcelos’

Jelma van Amersfoort ‘The Secret Life of Scores’

Paul Sparks ‘Clara Ross and the Forgotten Women Guitarists and Mandolinists of late 19c Britain’

Martín Damián Gil ‘Discussion entre les Carulistes et les Molinistes’

Miles Henderson Smith ‘The role of tacit knowledge in the process of voicing the classical guitar soundboard’

Jan van Cappelle ‘Antonio Stradivari guitar-maker’.

Nicoletta Confalone ‘In search of the lost guitar: Limits and actuality of the Schubertian Lieder’s Nineteenth-century transcriptions’


Discussion in the Old Library. Photo by Nicoletta Confalone


Guitar inspection. Photo by Nicoletta Confalone


Regency instruments. Photo by Nicoletta Confalone


Nicoletta Confalone, Gerhard Penn, Sarah Clarke. Photo by Jelma van Amersfoort.

Papers presented in 2016

Gerhard Penn, (a) ‘Vienna’s First Guitarists and Guitar Teachers, 1790 – 1807’ (b) ‘Mauro Giuliani’s Reception in Europe, 1820 – 1840’

James Westbrook, ‘Music Publisher Robert Cocks’ Involvement in the Guitar’

Jelma van Amersfoort, ‘Guitar and cittern making in the Netherlands in the 18th century’

Paul Sparks, ‘The mandolin in 18c Britain’

Erik Stenstadvold, ‘An unknown pupil of Sor: the life and career of Mariano de Castro’

Brian Jeffery, ‘The Spanish military guitar in the Peninsular War’

Luis Briso de Montiano y Ruiz de la Sierra, ‘New documents for the life of Dionisio Aguado’

Thomas Heck, ‘Historiography of the Guitar: Texts and Contexts’

Richard Savino, ‘The Sutro guitar manuscripts’

Vinciane Trancart (Andrew Britton Fellow), ‘The Guitar and Banal Nationalism during the Restoration in Spain’

Panagiotis Pouloupolos, ‘The Harp, Lyre, Lute, Cittern, and Guitar around 1800’

Christopher Page, ‘The guitar and the sofa’

Papers presented in 2014

Jelma van Amersfoort, ‘The English guittar in Holland’


Photo by Panagiotis Poulopoulos

Paul Sparks, ‘When did the mandolin and guitar first become a ‘natural’ pairing?’

 James Westbrook, ‘The kinds of Guitar Sor may have played and envisaged when he composed’

Erik Stenstadvold, (a) ‘Ornamentation in Sor’s music: notation, interpretation, improvisation’

(b) ‘Why did Sor leave London?’

Brian Jeffery, ‘The metronome markings in Sor’s article ‘Le Boléro’ and related matters’

Ken Hartdegen, ‘Sor’s fingering with special emphasis on his use of the right hand’

Ulrich Wedemeier, ‘Thoughts on Madame Pratten’

Christopher Page, ‘The Light Guitar: six strings on the move’

Andrew Britton, ‘Beyond Button’

Panos Poulopoulos, ‘Francesco Molino’s Pioneering Guitar Design’

Papers presented in 2013

Erik Stenstadvold, ‘The struggle for recognition – the guitar and the prejudices of the musical establishment’


Photo by Panagiotis Poulopoulos

James Westbrook, ‘Louis Panormo: ‘The only Maker of Guitars in the Spanish style’

Jelma van Amersfoort, ‘The notes were not sweet till you sung them: 19th century French vocal romances with guitar accompaniment’

Andrew Britton, ‘The Guitar and the Bristol School of Artists’

Paul Sparks, ‘Ladies’ Guitar and Mandolin Bands in Victorian England’

Panos Poulopoulos, ‘The origins of the viol-shaped guitar DM69731 in the Deutsches Museum’

Thomas F. Heck, ‘Guitarists al Balcone: The 17th-c. Musical Frescoes of Genoa’s Spinola Family Palaces’

Richard Savino, ‘Some recently discovered Spanish guitar manuscripts (c. 1790 – 1830) in California’

Christopher Page, ‘The guitar and the poor in late-Georgian England’


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