The International Conservatory of Music presents
The John E. Marlow Guitar Series 20th Season • 2013-2014 www.MarlowGuitar.org
How The John E. Marlow Guitar Series Began With the unexpected passing of John Marlow in 1992, his friends formed a committee to organize a musical tribute to John and to raise scholarship money for his son, Richard. The tribute was a huge success, bringing in almost $6,000 for Richard Marlow’s first semester at college. The magic, that was felt by all in attendance on that beautiful Sunday afternoon of April 18th, 1993, inspired Tim Healy and Regis Ferruzza to create a guitar series in John’s name.
John E. Marlow
The John E. Marlow Guitar Series is dedicated to our good friend John Marlow: performer, composer, arranger, educator and former Head of the Guitar Department at American University. John inspired and assisted generations of guitarists with his talent, commitment to excellence and generous personality. Few are the guitar professionals in the Washington area whose work was not influenced by John. The International Conservatory of Music has chosen to commemorate this outstanding human being with an annual living memorial: The John E. Marlow Guitar Series.
INTERNATIONAL CONSERVATORY OF MUSIC www.internationalconservatory.org
The International Conservatory of Music (ICM), a 501(c)(3) organization, is the umbrella organization for: • The John E. Marlow Guitar Series • Beatty Music Scholarship Competition for Classical Guitar • Embassy Concert Tours in USA • Outreach Programs ICM was incorporated in the District of Columbia in 1980 and registered in the State of Maryland in 1995. Our mission is to create community through music. The John E. Marlow Guitar Series brings the best classical guitarists in the world to Montgomery County, MD to entertain, educate, and inspire. We also present the Beatty Music Scholarship Competition for Classical Guitar, the Embassy Concert Tours in USA, and Master Classes or School Visits, as Outreach Programs. In the past 33 years, ICM has presented hundreds of events and co-sponsored programs with area universities, the John F. Kennedy Center for the Performing Arts, Embassies, Federal Government agencies, public school systems and other community and cultural organizations. ICM Board of Directors Timothy Healy, President; Edwin Butterworth, Jr.; Chien-Tai Chen, DMA; Joan Collings; Amy Crews Cutts, PhD; Michael DiMattina, MD; Neil Doherty; Cheryl Dragoo; Deborah Drayer; William Herrmann; David Kirstein, Esq.; Art Kosatka; Henry Levin, PhD; Glen McCarthy, Duane Morse, Esq.; Gonzalo Palacios, G. PhD; Shereen Remez, PhD; Lucinda Wilson. Ex. Officio: Susan Healy, Administrative Director; Regis Ferruzza, Executive Director
INTERNATIONAL CONSERVATORY OF MUSIC Thanks to our Invaluable Friends! Vittorio Brod for sharing our vision & providing us with our most generous donation to date John & Susie Beatty for supporting the Beatty Competition Amy Crews Cutts for her leadership in organizing the Beatty Music Scholarship Competition, fundraising & generous donations. The Del Mar Foundation for its continued financial support & friendship Neil Doherty for his help with the Beatty Competition David Kirstein for legal advice & hosting Marlow Guitar artists Art Kosatka for his support for the recording of Finals Night at Beatty Competition Henry & Susan Levin for hosting ICM Board Meetings Cheryl Dragoo for her accounting assistance & generous donations William Herrmann for Marlow Guitar ushering & lights management, Beatty Competition support & help in fundraising Joan Collings for ICM administration & Marlow Guitar Receptions Duane Morse for ICM’s Development Committee (Chair) & “Best Of...” CD Project
Debbie & Patrick Mezzetta for Marlow Guitar CD & raffle sales Julius Rosen & Shirley Wolock for Marlow Guitar ticket taking & cheerful greeting Deborah Drayer for working on Marlow Guitar Receptions, the Beatty Competition, & ICM’s Strategic Planning Committee (Chair) Miyuki & Shuko Yoshikami for general support & Marlow Guitar Receptions Berta Rojas for serving as Artistic Director for the Beatty Competition for its first 3 years Robert Scharf for Marlow Guitar ushering & Receptions Calvin Schnure for his help with the Beatty Competition Meagan Healy for ICM & Marlow Guitar social networking, design work & Marlow Guitar Receptions Jim Rose & Susannah Hills Rose for Marlow Guitar Receptions Keith Bickel for Beatty Competition website development & support Montgomery County Government & AHCMC for financial support & encouragement Ed Butterworth for ICM’s Board of Director’s Membership Committee (Chair)
The International Conservatory of Music
Our List of Supporters Gran Maestro: $10,000 & Higher John & Susie Beatty Hasani Jaali
Maestro: $5,000 - $9,999 James and Amy Crews Cutts, PhD Charles DelMar Foundation
Artist: $1,000 - $4,999 Deborah Best, sponsor of the Jason Vieaux concert Vittorio Brod Cheryl Dragoo Duane Morse, Esq., producer of “Marlow Series Favorites� CD Equifax Foundation, matching Gonzalo Palacios, G. PhD, sponsor of the Rupert Boyd concert The Reinvestment Fund, matching Shereen Remez, PhD, sponsor of the Carlos Perez concert The DC Scottish Rite Foundation of Washington, DC, sponsor of the Beatty Music Scholarship Competition Composer Prize. Mike Hemmer, sponsor of the Pearl Django concert
Virtuoso: $500 - $999 Art Kosatka Loudoun County Music (VA) Middle C Music Michael DiMattina, MD
Patrons of the Beatty Competition George Washington University Music Department
The International Conservatory of Music
Our List of Supporters cont.
Performer: $250-$499 Edwin Butterworth, Jr. Joan Collings Neil Doherty Deborah Drayer William Herrmann David Kirstein, Esq. Art Kosatka Henry Levin, PhD William Marple Jim & Susannah Hills Rose Julius Rosen, in memory of Beatrice Rosen
Anne & Paul Williams Lucinda Wilson Shuko & Miyuki Yoshikami Guitar Gallery, Washington, DC Steve & Linda Spellman - The Guitar Shop Jerry Lynn Guitar, formerly Jerry’s Music Kirkpatrick Guitar Studio, Towson, MD
Player: $50-$249 Jacqueline Barth Robert Bergman Frank Bevacqua Bruce Bostwick Philip Branton Mark Campbell William Coleman, Jr. Vera Connolly Steve Corley David & Margaret Delia Karl Edler Andrea Feight Peter Gray George Hammer Virginia Hartman Catherine Healy Gary and Susan Hilbert Barb Johnson & Minh Le
Russell Levin Paul Krogh Fredric Margolis William Marple Betsy Pauli Patricia Randall Mary & Michael Rubino Robert G. Scharf Calvin Schnure Michael Shanley & Shirley Street Toivo Tagamets Sharon Virga Bruce Weber Tim Wechsler Willner Family Gail Yano
EVENING OF THE CONCERT • Pre-Concert Lecture 7:15 - 7:45 pm - given by Professor Larry Snitzler in the downstairs Reception Hall of the Church • Door Prizes & Our Mailing List When you present your ticket to each performance in the Church, you are entitled to fill out a voucher to qualify for a free door prize. Prizes include CDs of the artist performing that evening or free tickets to upcoming performances. The International Conservatory of Music/ John E. Marlow Guitar Series will use the information you provide to create a mailing list to inform you of future performances. (We do not sell or give away this list.) If you do not wish to be put on the list, write only your name on the voucher. • Guitar Raffle & Rules to the Raffle Each concert, we will raffle off one guitar. Raffle Tickets - $5 each; 5 for $20. This year, five guitar specialty shops have contributed a guitar to use for the raffle, in support of the John E. Marlow Guitar Series. Please support these shops & guitarists: The Guitar Shop: Please call Steve Spellman at 301-807-7777 Jerry’s Music: Please call Jerry Lynn at 301-318-2317 Kirkpatrick’s Guitar Studio: 4607 Maple Avenue, Baltimore, MD Middle C Music: 4530 Wisconsin Avenue, NW, Washington, DC Guitar Gallery: 3400 Connecticut Ave NW Washington DC Rules: 1. You must be present to win. 2. You can only win one guitar per season. 3. If you don’t win in a drawing on a particular night, your unpicked ticket will qualify for the next drawing until the end of the season. • Our Free “Meet The Artist” Reception Following each performance at the Church, the International Conservatory of Music hosts a complimentary reception in the Reception Hall downstairs. This is a great opportunity for you to meet the performer/s and have your CDs autographed and meet other music lovers and friends.
JOIN THE BOARD OF DIRECTORS If you have enjoyed the Series and would like to be a part of the decision making for the John E. Marlow Guitar Series and other exciting programs, you are a good candidate for Board Membership of the International Conservatory of Music. Some Benefits of being a Board Member: Front Area Seating at all concerts Opportunity to be part of artist selection Camaraderie with a unique group of people and more... Come and join those who are already members of the Board! Let us hear from you. Please call Regis Ferruzza: 202-557-6574 or Please call ICM Phone: 301-654-6403
“...yours is one of the most important series in town.� Tim Page, Former Chief Music Critic of The Washington Post by email: January 17th, 2006
Photo: Tyler Boye
Jason Vieaux, USA Guitarist Jason Vieaux has earned a reputation for putting his expressive gifts and virtuosity at the service of a remarkably wide range of music. He is “among the elite of today’s classical guitarists.” (Gramophone, UK) His schedule of recital concerto, chamber music, teaching and recording commitments is distinguished with returning engagements throughout the world. Jason continues to record important repertoire. A new AZICA CD of solo guitar encores is planned for a 2013 release. Highlights for 2012-13 concert season included concertos with the symphonies of Toronto, Spokane, Augusta (GA), and Silicon Valley, a performance of the Lukas Foss Concerto for the New Hampshire Music Festival, duo recitals with acclaimed harpist Yolanda Kondonassis and accordion/bandoneón virtuoso Julien Labro, solo recitals in Austin, at the Mannes School of Music and California’s La Guitarra Festival, and a Curtis On Tour sojourn to South America. Mr. Vieaux is Head of the Guitar Department at Cleveland Institute of Music, and co-founder, with David Starobin, of The Curtis Institute of Music’s new Classical Guitar Department. In May 2012, the Jason Vieaux Guitar Academy was launched in partnership with ArtistWorks Inc., a technological interface that provides a 1-on-1 online study exchange between Vieaux and guitar students around the world. Jason also writes for National Public Radio’s Deceptive Cadence blog series. Jason Vieaux plays a Gernot Wagner Guitar and uses Galli Strings. He appears by arrangement with Jonathan Wentworth Association, Ltd. www.jwentworth.com
Jason Vieaux October 26, 2013
This concert is dedicated to Sara Ann Best by Deborah Best.
Concert Program Grand Overture, Opus 61
Mauro Giuliani (1781 - 1829)
Lute Suite No. 1 in E minor, BWV 996 Prelude; presto Allemande Courante Sarabande Bourrée Gigue
Johann Sebastian Bach (1685 - 1750)
Nocturnal after John Dowland, Op. 70 Musingly Very agitated Restless Uneasy March-like Dreaming Gently rocking Passacaglia - Theme
Benjamin Britten (1913 - 1976)
Intermission Sevilla (sevillanas, from Suite Española), Op.47
Isaac Albéniz (1860 - 1909) (arr. Vieaux)
In a Sentimental Mood
Edward Kennedy “Duke” Ellington (1899 - 1974)
The Devil’s Strum (2010) written for Jason Vieaux
Dan Visconti (1982 -)
cont.
Jason Vieaux
Concert Program, cont. Jongo
Paulo Bellinati (1950 -)
Suite del Recuerdo Evocación Zamba Chacarera Carnavalito Evocacion Joropo
José Luis Merlín (1952 -)
Jason Vieaux’ Program Notes Grand Overture, Opus 61
Mauro Giuliani
Mauro Giuliani was one of the greatest virtuosi of the guitar in the nineteenth century. Giuliani’s career is divided into three periods, according to the countries in which he lived: Italy (1781-1806), Vienna (1806-1819), and a return to Italy (1819-1829). While Paris was the destination of many Italian guitarists, Giuliani chose Vienna, which had a profound impact on his career and compositional style. It was there that he met many of the leading musicians of the time, and it was there that he first began using sonata form in works for solo guitar. Grand Overture begins with a slow introduction in A minor. Its sense of gravity comes from the use of dissonant diminished chords, chromatic lines, and a pedal on the dominant (a low E) that takes up about the final two thirds of the introduction. This is followed by the main section of the piece, which is fast and in sonata form. Although it is in A major, Giuliani waits eight measures to firmly establish the key, prolonging the instability of the introduction and creating a sense of forward momentum. Long stretches of fast arpeggios make this a virtuosic showpiece, and one can hear an entire orchestra of sound contained within the six strings of the guitar. -- Erik Mann (edited)
Lute Suite No. 1 in E minor, BWV 996
Johann Sebastian Bach
Bach’s works for lute represent perhaps the single most important body of work in the guitar repertoire. Among these works are dance suites, including the Suite in E Minor, BWV 996. This work, like most suites of the late Baroque, follows the standard form of: Allemande, Courante, Sarabande, and Gigue with optional movements. Bach chose to include the Prelude and Bourrée in addition to the four standard movements. The Prelude to BWV 996 imitates the French overture. -- Erik Mann (edited).
Jason Vieaux’ Program Notes cont.
Nocturnal after John Dowland, Op. 70
Benjamin Britten
Benjamin Britten’s Nocturnal after John Dowland, Op. 70 is widely regarded as one of the masterworks of the guitar repertoire. Britten himself stated that the Nocturnal contained “disturbing images” for him, and that it would not be “madly popular because it is the strangest and remotest thing- but then dreams are strange and remote”. In fact Britten’s music frequently occupied a middle road within the twentieth century, criticized by the avant-garde as too conservative and by the general public as too challenging. Nocturnal is in reverse theme and variations form. The theme comes at the end. -- Erik Mann (edited).
Intermission Sevilla (sevillanas, from Suite Española, Op.47) Isaac Albéniz Isaac Albeniz was a virtuoso pianist and, along with Enrique Granados and Manuel de Falla, is considered to be one of the three greatest Spanish composers of all time. Among the best of Albéniz’ works are Spanish character pieces for solo piano, often named after parts of Spain. Sevilla is one such work. Sevilla was first performed by the composer on January 24, 1886. It is one of the four works originally included in his Suite Española, Op 47 and presented to the queen of Spain on March 21, 1887. Sevilla (or Seville) is the most famous city of the southern region of Spain called Andalusia. This is one of his most orchestral compositions for the piano, with independent inner voices creating a full and busy texture, much like the movement of revelers in a festival. -- Erik Mann (edited).
In a Sentimental Mood
Edward Kennedy “Duke” Ellington
The Devil’s Strum (2010) written for Jason Vieaux
Dan Visconti
One of the defining myths surrounding American blues guitar playing is about a pact with the supernatural, as portrayed in Robert Johnson’s Cross Road Blues and countless other songs and legends. In one such account, a man meets the Devil at the lonely crossroads in the dead of night, and strikes a bargain: in exchange for inhuman ability and charisma as a guitarist, the man need only sign over his eternal soul. At the outset this arrangement leads to sex, money, and fame; but it’s not long before greed, license, and arrogance follow suit and hasten the foolish soul’s inevitable demise. -- Dan Visconti (edited).
Jason Vieaux’ Program Notes cont.
Jongo
Paulo Bellinati
Brazilian guitarist/composer Paulo Bellinati (b.1950) has achieved great popularity with his colorful compositions in the style of his native country. The most well-known of these is Jongo, based on a Brazilian dance of the same name which uses 3/4 and 3/2 rhythms and accents over an underlining time signature of 6/8. Originally written for his jazz band Pau Brasil, Bellinati’s piece achieved its greatest success when the composer arranged it for solo guitar. After receiving a first-place prize in an international competition for Jongo, Bellinati also made a duo arrangement for the great Brazilian guitarists Sérgio and Odair Assad. Both the solo and duo versions are fiery showpieces that take the listener on a colorful journey through Brazil while retaining so much of the original texture that it is easy to imagine hearing an entire jazz band. -- Erik Mann
Suite del Recuerdo
José Luis Merlín
Merlin says of Suite del Recuerdo: “This is an homage to memories, my memories. To the collective memories of my people living in nostalgia, tormented, anguished, happy and hopeful. Memories from the country, in San Luis, with all the smells and sounds from the country. It is like looking inside yourself in very profound silence. Memories of afternoons with grandparents, aunts and uncles, parents, brothers, sisters, cousins. All enjoying each other, sharing our feelings and playing guitar, sitting in the back yard drinking wine, under the vines. Lots of them are not here anymore. They are in my memories.” The work is a memorial to the victims of the Dirty War which took place in the 1970’s and early ‘80’s in the composer’s native country of Argentina. This was a time in which the military used “dirty” methods such as torture and rape. Estimates vary widely as to the number of political opponents that died or disappeared in the conflict, ranging from the thousands to the tens of thousands. Merlin begins his suite with the lament Evocación, followed by a series of nostalgic Argentinean dances. After a reprise of Evocación, the suite is brought to a lively close by Joropo, a lively Venezuelan dance which is the only movement in a major key. -- Erik Mann Master Class: October 27, 2013. 1-4 pm, George Washington University, 801 22nd Street, NW, Washington, DC 20037 - Phillips Hall Music Department Room B120. Times and dates subject to change. Check www. internationalconservatory.org for up-to-date information.
Jerry Lynn Guitar jerrylynnguitar@gmail.com www.jerrylynnguitar.com
Š 2012 Meagan Healy
and
Victor Litz Music www.victorlitz.com (301) 948-7478 are proud to support the John E. Marlow Guitar Series
Jerry Lynn (formerly of Jerry's Music) is proud to support the John E. Marlow Guitar Series. Jerry is an active performer and teacher of the guitar.
Photo: Supplied by Artists/Rep
Duo Tamayo-Montesinos Cuba, Spain The Duo TamayoMontesinos was born about 7 years ago when both musicians decided to be together not only in life but also on the stage. The Duo’s repertoire includes works from every style with both original works and transcriptions from composers such as Leo Brouwer who arranged some Beatles’ songs for the Duo. The Duo has concertized in Western and Eastern Europe, East Asia and the United States where they appeared at venues such as the Minnesota Guitar Society, Boston Classical Guitar Society, International Guitar Festival of San Jose among others. Both guitarists record for the Naxos Classic Label. They are Savarez Strings Artists and perform with Simon Marty guitars from Australia. Anabel Montesinos and Marco Tamayo keep developing their career as soloists with great success. They are winners of major international solo guitar and chamber music competitions. Anabel Montesinos is one of the leading figures of the classical guitar worldwide. She is a winner of several major international guitar competitions such as the Francisco Tárrega in Spain and the Michele Pittaluga in Alessandria, Italy. Her musical expression and taste have never failed to please audiences wherever she has performed. Ms. Montesinos started her music education at the age of five and study of the guitar at the age of six. After a few months, she was recognized as a prodigy and at the age of eleven, she
Tamayo-Montesinos Duo cont.
performed a recital in Mallorca. Ms. Montesinos has recorded for radio and television in Spain, Poland, Italy, and Sweden. Her success earned her a contract with the Naxos Classic Label with whom she recorded her first album of music from the romantic period. This CD was acclaimed by the international press and was chosen by British Airlines as a part of the musical program in flights overseas. Marco Tamayo, the Cuban born guitarist has been acclaimed by the Italian newspaper La Stampa as “Il Re della Chitarra” (“King of the Guitar”) He has been praised as one of the leading figures of classical guitar performance by John Williams, Leo Brouwer and Eliot Fisk. Eliot Fisk said this of Marco: “... a perfect technical development and an extraordinary musical intelligence...” Marco Tamayo started to perform at the age of three with his father as teacher. His first performances took place at the age of six, and at the age of ten, he won several competitions in Cuba. After ten years he went on tour in Germany and Bulgaria, starting a distinguished career that has continued until today. Mr. Tamayo has performed at major guitar competitions winning the La Herradura Andres Segovia Competition in Granada, Spain, the Leo Brower Competition of Havana, Cuba and the Michele Pittaluga Competition of Alessandria, Italy.
The International Conservatory of Music celebrates the John E. Marlow Guitar Series’ 20th Anniversary.
Tamayo-Montesinos Duo November 23, 2013
Concerto BWV 971, after A. Vivaldi
J. S. Bach (1901 - 1999) (Transc. E. Fisk)
L’Encouragement
F. Sor (1778 - 1839)
Prima Sonata, from “Centone di sonate”, original for violin and guitar
N. Paganini (1782 - 1840) (Transc. M. Tamayo)
Intermission The Fool on the Hill, She’s Leaving Home, Penny Lane
Lennon-McCartney (1940 - 1980, 1942 -) (Transc. Leo Brouwer)
Cambridge Suite
N. Koshkin (1956 -)
“Los ojos de Pepa”
M. Saumell (1818 - 1870) (Transc. M. Tamayo)
“Under The Sea”, from Walt Disney Pictures, The Little Mermaid
A. Menken (1949 -) (Transc. M. Tamayo)
Photo: Ela Barteczko
Kupiński Guitar Duo, Poland The Kupiński Guitar Duo (Ewa Jabłczyńska & Dariusz Kupiński) is one of Europe’s most renowned guitar duos. They are acclaimed by both the public and critics alike as two musicians with a brilliant technique, passion, quality of sound and infinite elegance. In addition to their numerous solo achievements, after graduating the Karol Szymanowski Academy of Music in Katowice and Hochschule für Musik in Weimar, Ewa and Dariusz decided to establish a guitar duo, bringing to their performances a masterful sense of ensemble and charming personal chemistry. As a part of their passion for education, they have been invited to give Master Classes in Europe and Latin America. Ewa holds the Doctor of Music degree in guitar performance and is currently teaching at the Institute of Music of Jan Długosz University in Częstochowa. Dariusz is sharing his knowledge with students at the Karol Szymanowski Academy of Music in Katowice. With a growing reputation for performing with tremendous energy and artistry, their aim is to create a rich and varied concert experience for their audience through profound performances of great music. Kupiński Guitar Duo performs on English guitars made by the luthier Philip Woodfield.
Kupiński Guitar Duo January 18, 2014
This concert is dedicated to Meagan Healy, Graphic Design by ICM. Asturias (arr. Kupiński Guitar Duo)
Isaac Albéniz (1850 - 1909)
3 Mazurkas (arr. Kupiński Guitar Duo) op. 24 No. 2 op. 17 No. 4 op. 41 No. 3
Frédéric Chopin (1810 - 1849)
Cenas Brasileiras Pinote Vitoria Regia Recife dos Corais
Sergio Assad (1952 - )
La gazza Ladra – Ouverture (arr. Kupiński Guitar Duo)
Gioacchino Rossini (1792 - 1868)
Intermission Sonata Fantasia
Dušan Bogdanović (1955 - )
Cancao
Sérgio Assad (1952 -)
Rhapsody in Blue (arr. Kupiński Guitar Duo)
George Gershwin (1898 - 1937)
Kupiński Guitar Duo’s Program Notes Asturias (arr. Kupiński Guitar Duo)
Isaac Albéniz
Asturias was written by Isaac Manuel Francisco Albéniz (May 29, 1860– May 19, 1909). Albéniz was a Spanish pianist and composer, best known for his piano works that are based on Spanish folk music. Born in Camprodón, Gerona, Spain, Albéniz was a child prodigy who first performed at the age of four. At age seven he passed the entrance examination for piano at the Paris Conservatoire, but he was refused admission because he was believed to be too young. At the age of 12, after going to the Madrid Conservatory, he stowed away in a ship bound for Buenos Aires. By age fifteen, he had already given concerts worldwide. In 1883, he met the teacher and composer Felipe Pedrell (1841–1921), who inspired him to write Spanish music such as The Fifth Movement “Suite Española,” called Asturias (Leyenda), which is probably most famous these days in the classical guitar world. A favorite of Andres Segovia, and virtually every guitarist that followed him, the piece has become so widely identified with the guitar that most are astonished to discover that the work was originally written for the piano.
3 Mazurkas (arr. Kupiński Guitar Duo)
Frédéric Chopin
The folk origins of the mazurek are two other Polish musical forms—the slow kujawiak, and the fast oberek. The dance is in triple time, with the accent often on the second (or third) beat rather than the first. Chopin loved this dance, and he wrote about sixty mazurkas throughout his lifetime, the first when he was 14, the last in the year of his death. Chopin’s mazurkas are small sketches, literally pictures of his homeland, permeated with feelings of love and sadness when he had to part with it. The poetic quality of the mazurka, its conversion from a simple Polish popular country dance to a most delicate poetical miniature of psychological content, was always a decidedly marked characteristic of Chopin’s innovative genius. It is considered that he successfully achieved the synthesis of the way of life of the common folk and the aristocracy.
Kupiński Guitar Duo’s Program Notes cont.
Cenas Brasileiras Cancao
Sérgio Assad
Sérgio Assad has dedicated most of his efforts towards building a repertoire for his brother and himself. Over the years, he has made numerous arrangements and transcriptions of everything from baroque to contemporary music. However, he has developed a parallel career as a composer, having written many works for solo guitar and guitar ensembles. His exceptional artistry and uncanny ensemble playing come from both a family rich in Brazilian musical tradition and from studies with the best guitarists in South America. Tonight we give you two amazing, full of passion compositions by Sérgio Assad: Cenas Brasileiras and Cancao.
La gazza Ladra – Ouverture Gioacchino Rossini (arr. Kupiński Guitar Duo) Rossini’s opera La gazza ladra (“The Thieving Magpie”) is a sentimental comedy, or opera semiseria, as it was called at the time. Based on a true story, it is about a girl who is about to be executed for stealing a silver spoon when it turns out that the real culprit was a bird. The complete opera is rarely performed today, but its splendid overture is a beloved concert favorite. According to a well–known anecdote, Rossini worked on the overture to La gazza ladra right down to the wire; the theater manager supposedly locked him up in a room from where Rossini dropped each completed page out the window for the copyists to pick up. The manager threatened that if there was no music forthcoming, they would drop Rossini out the window instead.
Sonata Fantasia Dušan Bogdanović Dušan Bogdanović, born in 1955 in Belgrade, is one of the most significant guitarists and composers of our day. After celebrating various successes as a virtuoso player, he then dedicated himself to composing and developing his individual style. In Sonata Fantasia for two guitars, composed in 1990-91 in San Francisco, the influence of Balkan music is very noticeable. Bogdanović achieved completely new tonal effects for the guitar with the aid of polytonality and polyrhythm. His music shows a complete mastery of ethnic folk, jazz, and classical traditions.
Kupiński Guitar Duo’s Program Notes cont. Rhapsody in Blue (arr. Kupiński Guitar Duo)
George Gershwin
Rhapsody in Blue marked the 25-year-old Gershwin’s debut as a “serious” concert artist and composer. The occasion was a highly publicized concert on February 12, 1924 at New York’s Aeolian Hall devised by band director Paul Whiteman and given the rather ominous title “Experiment in Modern Music.” Whiteman wanted to demonstrate to the New York musical establishment that American jazz had come of age and was worthy of the same respect as European art music. Although Whiteman had talked vaguely with Gershwin about writing a piano concerto for the occasion, Gershwin didn’t actually learn he was on the program until he read about it in The New York Tribune on January 3rd. Panicked, he called Whiteman who agreed there was not sufficient time to create a full-scale concerto and suggested a shorter free-form rhapsody instead. To help Gershwin meet his tight deadline, he offered the services of composer-arranger Ferde Grofé, who orchestrated the work as fast as it emerged from Gershwin’s pen. The title referred not just to the blue notes of jazz, but also to the composer’s love of the visual arts; having recently attended a Whistler exhibit with paintings such as “Nocturne in Black and Gold,” he chose Rhapsody in Blue.
Websites and Advertisements... it’s what I design. Meagan Healy, Graphic Design 301 • 602 • 2197 For Entrepreneurs, Small Businesses & Non-Profits
www.meaganhealy.com
Graphic Designer for the John E. Marlow Guitar Series
Photo:Supplied by Artist/Rep
Carlos Perez, Chile The Washington Post said this of Carlos Perez: “ Expressive, impassioned player with astonishing technical prowess.” The Classical Guitar Magazine of England regards Mr. Perez as: “A master guitarist with true star quality.” Carlos Perez was born in Santiago, Chile. He studied under Ernesto Quezada at the Arts Faculty of the University of Chile where he graduated with top honors. Chilean guitarist Carlos Perez has won top prizes in major international competitions in Europe and America, winning first prize in: “Alirio Díaz Competition”, Venezuela; “René Bartoli Competition”, France; “Printemps de La Guitare”, Belgium; “Forum Gitarre”, Austria; “Fundación Guerrero” Spain and “Joaquín Rodrigo Competition” Spain. Mr. Perez has issued eleven CDs and two DVDs. He has given recitals in over thirty countries in North, Central, and South America as well as Europe, and has played with orchestras from England, Belgium, the United States, Germany, Lithuania, Spain, Russia, Portugal, Poland and Chile. His international activity has him performing at Carnegie Hall (USA), Royal Festival Hall (England), the Berlin Philarmonie (Germany), Auditorio Nacional (Spain), and Teatro Monumental (Spain) and other prestigious concert halls. Carlos plays a guitar by Angel Benito Aguado, Madrid, Spain 2009. Carlos Pérez will offer a master class at George Mason University on Feb. 16, 2014.
Carlos Perez
February 15, 2014 “I would love to dedicate this concert to Tim Healy for all of the years of hard work and love he has devoted to this enterprise (ICM and Marlow series).” -- Shereen Remez
Ibero-American Music from the Romantic Period Dos Mazurkas 1. Una Flor 2. Lírica Aire Vasco
Antonio Jiménez Manjón (1866 - 1919)
Cubana Schottish Madrileño
Emilio Pujol (1886 - 1980)
Fandango variado
Tomás Damas (approx. 1830 - 1875)
Intermission Preludio opus 5 Maxixa
Agustín Barrios (1885 - 1944)
Estilo Criollo La Ideal (Romanza sin palabras) La Güella
Julio Sagreras (1879 - 1942)
Mariazinha sentada na pedra Eponina (Valsa) Vem ca branquinha Transcription by Carlos Pérez.
Ernesto Nazareth (1863 - 1934)
Carlos Perez Program Notes The program for this concert presents repertoire from the Romantic period of Spain and Latin America, from the second half of the nineteenth century and the first half of the twentieth century. Dos Mazurkas Aire Vasco
Antonio Jiménez Manjón
Antonio Jimenez Manjón, prominent Spanish guitarist and composer, was blind from infancy. After starting his career in Spain he moved to Argentina, where he performed with great success as well as in Chile, Uruguay and other countries. Critics of the time in Europe and Latin America praised him as a true artist who succeeded in elevating the guitar to the most renowned stages. His compositions reflect the predominant taste of the time, that is, a strong influence of the most typical forms and salon dances (mazurkas, waltzes, ballads, etc.) and nationalist works, many with a great display of virtuosity. He played an 11-string guitar.
Cubana Emilio Pujol Schottish Madrileño The artistic work of Emilio Pujol encompassed education, performance, composition and musicology. Famous for his “Escuela Razonada de la Guitarra” (School of Guitar), a 4-volume method, he passed on the legacy of his teacher, Francisco Tárrega. The Cubana is an habanera, dance of Cuban origin and the Schottisch Madrileño is a duple-meter dance of grace and character.
Fandango variado
Tomás Damas
Tomás Damas is a little-known figure within guitar literature. He was a composer, performer and “honorary” professor of the Madrid Conservatory. He composed about one hundred works, most of them inspired by Spanish folklore. His contribution as a teacher is manifested in his Guitar Method and a valuable “Abreviated Method of Solfeggio” with guitar accompaniment. Some of his works were unjustly attributed to Tárrega, who was his student according to Cimadevilla, a guitarist of that era. His Fandango for guitar is a work of great virtuosity, similar in style to the celebrated Fandangos of Boccherini or Dionisio Aguado.
Carlos Perez Program Notes cont.
Preludio opus 5 Maxixa
Agustín Barrios
Agustin Barrios was born in San Juan Bautista de Misiones, in Paraguay, and was one of the most important exponents of the guitar during the Romantic period in Latin America. In his very active life as a performer and composer, he performed in all of Central and South America and even in Europe. The Prelude Op.5 in G Minor evokes the preludes of Bach, highly developed in harmony and covering the full range of the instrument. The Maxixa is a dance of Brazilian origin, composed with elegant virtuosity by this Paraguayan musician.
Estilo Criollo La Ideal (Romanza sin palabras) La Güella
Julio Sagreras
Until recently, the musical work of Julio Sagreras was linked exclusively to pedagogy, given the popularity of his method, “Lecciones de Guitarra” (Guitar Lessons). For many years his concert repertoire was forgotten, yet it consists of about a hundred pieces that combine European influence and Argentine musical traditions. In addition to his works for guitar, Sagreras composed at least two zarzuelas and founded a school for guitar in Buenos Aires that was very popular at the time. Estilo and La Güe11a both draw inspiration from traditional Argentine rhythms. Sagreras composed La Ideal (Romanza sin Palabras) in a Romantic style and dedicated it to his father, Gaspar Sagreras, who was his guitar teacher.
Mariazinha sentada na pedra Eponina (Valsa) Vem ca branquinha Transcription by Carlos Pérez.
Ernesto Nazareth
Ernesto Nazareth originally wrote the works on this program for piano. They have been transcribed for guitar by the performer. Nazareth started studying piano in his childhood with his mother and showed outstanding talent. He is considered the father of “choro,” as he was responsible for popularizing this Brazilian musical form by using the genre for many of his famous compositions. In addition to his pieces based on Brazilian popular music, his piano works include mazurkas and waltzes reminiscent of his musical idol, Frederic Chopin. Mariazinha sentada na pedra and Ven ca Branquinha are Brazilian sambas, while Eponina is a stylized waltz which demonstrates Chopin’s influence.
Rupert Boyd, Australia
Photo: Matthew Fried
March 15, 2014 Rupert Boyd of Australia is acclaimed as one of the most talented guitarists of his generation. He has performed throughout North America, Europe and Australia, China and the Philippines. He has been described by The Washington Post as “truly evocative”, and by Classical Guitar Magazine as “a player who deserves to be heard.” In addition to his recent Carnegie Hall debut, sponsored by the D’Addario Music Foundation, Rupert Boyd has performed at the 92nd Street Y, Merkin Concert Hall, Barge Music, the New York City Classical Guitar Society and the Cathedral of St. John the Divine (the world’s largest gothic cathedral). Rupert’s debut CD, Valses Poéticos, received the following review in the English magazine, Classical Guitar: “The performance that Boyd gives here is first rate...Even the Bach is the best of its kind.” Soundboard, the quarterly publication of Guitar Foundation of America, gave the CD the following review: “Boyd’s playing is beautifully refined, with gorgeous tone . . . musically and technically flawless . . . the album is first rate.” Bill Herrmann, member of the Board of the International Conservatory of Music, is currently organizing a performing tour of the United States for Mr. Boyd in 2014. This tour is in cooperation with the Australian Embassy. Rupert performs on a Greg Smallman Guitar, 2011 and uses D’Addario strings.
Rupert Boyd March 15, 2014
This concert is sponsored by Gonzalo Palacios, G. PhD. for his book“The Virgin Mary’s Revolution”. The Frog Galliard Lachrimae Pavan Fantasie From Kakadu i. Grave ii. Comodo iii. Misterioso iv. Cantando
John Dowland (1563 - 1626)
Valses Poéticos (arr. R. Boyd) i. Introduction – Vivace molto ii. Melodico iii. Valse noble iv. Valse lento v. Allegro humoristico vi. Allegretto elegante vii. Quasi ad libitum sentimental viii. Vivo ix. Presto x. Melodico
Enrique Granados (1867 - 1916)
Suite in E Major, BWV 1006a Prelude Loure Gavotte en Rondeau Menuett I & II Bourrée Gigue
J.S. Bach (1685 - 1750)
Otoño Porteño (arr. S. Assad)
Astor Piazzolla (1921 - 1992)
Introduction and Variations on a Theme of Mozart from the Magic Flute
Fernando Sor (1778 - 1839)
Peter Sculthorpe (1929 -)
Intermission
Rupert Boyd Program Notes The Frog Galliard, Lachrimae Pavan & Fantasie
John Dowland
Born just over 450 years ago, English composer John Dowland (1563-1626) is widely considered to be the greatest lutenist to have ever lived as well as one of the best composers of songs and instrumental works of his era. Although recognised during his lifetime as England’s finest lutenist, Dowland was unable to gain employment in England’s Protestant courts until almost the end of his life because he had converted to Catholicism at the age of seventeen whilst living in Paris. Dowland instead spent most of his life working abroad, predominantly in the court of Denmark. Although possibly due purely to the aesthetics of the era, Dowland maintained a depressive and dark character and once famously stated “Semper Dowland, semper dolens” (“Always Dowland, always melancholy”). Indeed many of Dowland’s songs deal with personal torment. The second piece presented here, Lachrymae Pavan, is an instrumental version of his song, Flow my tears, at the culmination of which, accompanied by a bass line that descends to the lowest notes on the lute, are the poignant lyrics: “Happy, happy, they that in hell, feel not the world’s despite”.
From Kakadu
Peter Sculthorpe
Peter Sculthorpe (b. 1929) is one of Australia’s most celebrated composers. From Kakadu, dedicated to the Australian guitarist John Williams, is a reworking of Sculthorpe’s orchestral piece titled Kakadu, and is one of the most important works in the Australian guitar canon. Of this work Sculthorpe writes: “The terrain of Kakadu National Park, in the north of Australia, stretches from rugged mountain plateau to coastal tidal plains… The work is an intimate one, being concerned with the deep contentment that I feel whenever I return to Kakadu. This feeling is ever-present in the dance-like second section, and in the singing line, and its counterpoint, of the final Cantando.” A highly evocative work, From Kakadu encompasses the vastness and beauty of the Australian countryside, and even incorporates the sounds of native Australian wildlife, most noticeably with the repeated birdcall of a minor-9th interval in the first movement.
Rupert Boyd Program Notes cont.
Otoño Porteño (arr. S. Assad)
Astor Piazzolla
Astor Piazzolla (1921-1992), one of Argentina’s most famous tango composers, is considered the father of the modern day tango. By adding modernist elements such as those used by Bartok, Stravinsky, and in jazz, Piazzolla revolutionized the tango, changing it from something that people danced to, into music intended for the concert hall. This upset some of Piazzolla’s compatriots, so much so that there are legendary stories of him once being covered in gasoline and threatened to be set alight, and on another occasion of having a gun pulled on him for disrespecting the national dance. Otoño Porteño represents autumn from his set of the four seasons, each of which portrays the life of a person from Buenos Aires during the changing seasons. Originally written for his quintet of bandoneon, piano, violin, electric guitar and double bass, this version for solo guitar has been arranged by the Brazilian guitarist Sergio Assad.
Introduction and Variations on a Theme of Mozart from the Magic Flute
Fernando Sor
The Spanish composer Fernando Sor (1778-1839) is one of the best regarded nineteenth-century guitarists, and his Mozart Variations, op. 9, is his most enduring and beloved work. First published around 1820, the theme for this set of variations comes from the final chorus to Act I of Mozart’s opera Die Zauberflöte (The Magic Flute), which was used by a number of composers as a popular theme for variations at the time. The dramatic introduction leads into the simple theme, which Sor then uses in five progressively more virtuosic variations, culminating in a thrilling coda.
Valses Poéticos (arr. R. Boyd)
Enrique Granados
Valses Poéticos, originally a work for solo piano by the Spanish composer Enrique Granados (1867-1916), was premiered by the composer on piano, at a concert in Madrid in 1895. The piece consists of a collection of short waltzes, to which Granados added an “Introduction” (distinctly separate from the waltzes by being in 2/4 time), and a reprise of the first waltz as a conclusion. Interesting to note is that although Granados’ music – and that of his compatriot Albéniz – is infused with the spirit of the Spanish guitar, neither of these composers wrote a single piece for the instrument. Nowadays however, many of their works are better known in their transcriptions
Rupert Boyd Program Notes cont. Valses Poéticos, cont. (arr. R. Boyd)
Enrique Granados
for guitar than in the original piano versions. According to legend, the guitarist Francisco Tárrega once played Albéniz an arrangement of one his piano works on the guitar, to which Albéniz exclaimed: “This is precisely as I had conceived it!” Granados died tragically during the First World War. After a tour of the United States – during which he was invited by President Wilson to perform at the White House – Granados was returning to Spain and while crossing the English Channel his boat was torpedoed by a German submarine. Granados was initially rescued by a lifeboat, but seeing his wife struggling in the water, dived in to rescue her, and both he and his wife drowned.
Suite in E Major, BWV 1006a
J.S. Bach
Thought to have been written around 1735-40, the Suite in E Major by J.S. Bach (1685-1750) is a re-working of his 1720 Partita No. 3 for solo violin. There is much contention amongst music scholars as to which instrument Bach intended this Suite, commonly referred to as Bach’s Lute Suite No. 4, to be performed upon. There are scholars who contend that all of Bach’s so called “Lute Suites” – only named as such after Bach’s death - were in fact written for the Lautenwerk, an instrument with a sound similar to that of the lute, but played in the manner of a keyboard instrument. It is known that within Bach’s possessions was a lute, and that he was friendly with many lutenists, including his contemporary S.L. Weiss, but that there are many passages within the lute suites that are impractical on the lute. Either way, Bach showed a love of the “Prelude” from this Suite by arranging in numerous times for different instrumentations, and both the “Prelude” and Suite as a whole works very well on the modern-day guitar. Following the “Prelude”, the Suite is comprised of seven French dances that were popular in Bach’s day.
Photo: Supplied by artists/rep
Pearl Django, USA With a performance history spanning almost two decades, Pearl Django endures as one of the most highly regarded Hot Club style groups working today. Although the band’s roots are firmly in the music made famous by Django Reinhardt and Stephan Grappelli, its extensive repertoire includes traditional jazz classics and original compositions. Pearl Django has performed at festivals, dances and nightspots throughout the U.S. and abroad. They have played at the prestigious Festival Django Reinhardt in Samois sur Seine and have been featured on NPR’s “All Things Considered.” The band’s signature style is marked by pristine and dexterous string work, colors of Bal Musette, the steady pulse of rhythm guitar and an unmistakable swing that delights audiences of all musical sensibilities. Throughout the years, Pearl Django has cultivated a devoted and enthusiastic following and they continue to play to packed houses wherever they perform. Both Troy Chapman and Ryan Hoffman play Shelley D Park guitars. Pearl Django selections will be announced from the stage.
This concert is dedicated to Joan Collings by Mike Hemmer.
GuitarFestivalAD_BW_13_Layout 1 9/13/13 11:27 AM Page 1
Sixth Annual
Salisbury University
Guitar Festival
& Competition Saturday, March 1, 2014 Activities for: •Individual guitar students •Student guitar ensembles •Guitar classes and clubs
For more information, please contact:
Dr. Danielle Cumming,
Festival Director, Associate Guitar Professor
dmcumming@salisbury.edu 410-677-3269 www.salisbury.edu/guitarfestival
Danielle Cumming
CLASSICAL GUITAR STUDIO Leigh Oben
Peabody Conservatory Graduate
Private Lessons All Ages & Levels Welcome Theory Technique Repetoire College Audition Preparation Patient & Experienced
LeighOben@aol.com • 301-681-0366 ClassicalGuitarStudioMd.com • Silver Spring, Md.
“The Virgin Mary’s Revolution: Love, and do what you will.” by Gonzalo T. Palacios, Ph.D. Available for sale on Amazon.
Gonzalo T. Palacios earned his Ph.D. in Philosophy from Catholic University of America and Ph.L. degree from the Gregorian University in Rome. He presently teaches philosophy at Prince George’s Community College, in Largo, Maryland. Gonzalo is a founding member of the International Conservatory of Music.
www.americanerasmus.com/books
JOAO PAULO FIGUEIROA CLASSICAL
GUITAR LESSONS " It was Assad’s “Aquarelle,” though, that really stole the show. It’s a tourde-force for guitar with an improvisational, almost whimsical feel, full of quicksilver twists and turns and delicate shades of color. Figueirôa gave it a lively and imaginative reading, and it was clear he was in his element. As an ambassador of Brazilian music, this is a guitarist worth hearing". - Stephen Brookes. The Washington Post - Review from his 2013 performance at the John E. Marlow Guitar Series.
LEARN FROM A PERFORMER AND TEACHER
More information:
www.jpfguitar.com
LARRY SNITZLER August 11, 2013 - New York Avenue Presbyterian Church-Washington, DC October 4, 2013 - Harris Theatre-Fairfax, VA April 6, 2014 - Biola, Wisconsin May 10, 2014 - Kirkwood Series, Springfield,VA
Watch for Larry Snitzler’s compositions and arrangements to be published by Columbia Music Co., in Fall, 2013 www.larrysnitzler.com www.youtube.com/Larry Snitzler Plays “Torija” & “Extraordinary...sensitive and expressive.” El Correo de Andalucía, Seville
Looking for a teacher? I love to teach!
Give me a call: 703-684-9068, or email: snitzler@gmu.edu On parle Français - Se habla Castellano P.O. Box 140, Closter, NJ 07624 Tel: 201/768.6970 - Fax: 201/768.7257 Web Site: http://www.loisscottmanagement.com
The Eclectic Guitars! Larry Snitzler & Rick Whitehead Classical, Latin or Jazz... if we like it...
We play it!
April 26, 2013 - The Lyceum, Alexandria, VA
THE BEATTY MUSIC SCHOLARSHIP COMPETITION FOR CLASSICAL GUITAR 8th Annual Beatty Competition March 7-10, 2014 George Washington University Washington, DC
Celebrating the music of Francisco Tárrega with a $1000 scholarship for the best performance of a Tárrega composition. Set pieces composed by Mr. Ernesto Cordero, Puerto Rico Amy Crews Cutts - Executive Director Glenn Caluda - Artistic Director
2013 Winners Amanie Oubrahim & Dian Rajic Youth Division Katie Cho & Robbie Belson Junior Division Ye Ram Yoon Senior Division Katie Cho Grand & Composer’s Prize