As Palmer points out in his introduction, the method is intended to supplement an already well-established technique and is therefore a method aimed at the intermediate to advanced player. Essentially, the method conveys the study and application of ami fingerings which enable velocity and agility displayed in Palmer’s formidable technique. However, the ability to execute ami passages is more complex than right hand technique alone, it requires a solid understanding of appropriate fingering, string crossing, and left hand technique.

What I admire most about the method is its clear and thorough delivery of the topic at hand. The 82 pages discuss the technique in a structured and comprehensive manner. Not only is the technique dissected and discussed on micro levels but it is also put into practice with appropriate repertoire excerpts presented to display the application of ami in action. It is clear from the way in which Palmer writes, that he has not only spent many years developing his own facility but also teaching it to others. Palmer addresses problems that will inevitable arise from practical applications of the method and his step-by-step approach to building up the technique points to a writer who has put a lot of thought and time into this method. The presentation of the publication is of a high quality, and is laid out in a style reminiscent of the ever ubiquitous Pumping Nylon.

While the method has a narrow focus, I believe it is indispensable for any advanced guitarist or teacher to include in their library. It presents a consolidation of ami technique, that while not revolutionary, has been distilled and delivered in an easy to understand and elegant manner.

Kudos to Matt for raising the bar!

Purchase the book at:

http://www.mattpalmerguitar.com

Milos Karadaglic, a 27 year old musician from Montenegro, has recently taken quite an extraordinary path for a classical guitarist. Signed by Deutsche Grammophon, Milos has been traveling extensively promoting his newly released CD “Mediterraneo”. Additionally, Milos has been popping up in several mainstream publications such as The Economist, New York Times, The Guardian etc.. I have observed some curious reactions to Milos’ recent publicity and I will address that later in this article, but first I will tell you about the concert last night.

Having attended countless classical guitar concerts over the past couple of decades, I was really delighted to experience a concert that stood out from the rest. The Poisson Rouge is a trendy new venue on Bleeker Street in Manhattan that built its reputation by presenting contemporary classical music to the New York audience. The layout of the venue is more akin to what one might expect for a jazz club. Dim lighting, tables, and a bar with food and drink service throughout the evening. Even before the performance began, the surroundings had created a very different mood and ambiance compared to a more conventional classical concert. The staff and audience were very respectful with ambient noise throughout the performance, but with the powerful house amplification of the guitar, it was never an issue.

Milos performed a single set of works without intermission, in between pieces Milos shared some insights with the audience and in general exuded a very calm, collected charisma that added greatly to the overall effect of the performance. The repertoire selection was largely taken from his newly released album and consisted of: Villa Lobos Prelude no.1, Asturias and Granada by Albeniz, Spanish dance no.5 and Oriental by Granados, Prelude and Fugue from Bach BWV 997 and Koyunbaba by Carlo Domeniconi. While to fellow classical guitarists this repertoire selection has been well worn in both recital and recording, I can only imagine that to the full house that was attending, much or all of this music was brand new.

Throughout the entire performance Milos played with impeccable accuracy and command. The interpretation of Bach’s Prelude and Fugue stood out to me in particular but his excellent musical phrasing and clear melodic lines were consistently of a high standard. Milos plays a particularly beautiful Smallman guitar, and he managed to coax out some of the most beautiful high notes in Asturias, that I have ever heard.

Following the performance, the audience showed their appreciation by calling Milos back to the stage three times (without an encore – which may partly be because of the Koyunbaba tuning!) and then proceeded to form a large queue to have CD’s signed.

Milos is a world class performer, and he possesses a charisma and presence that will serve to further his already blossoming career. I thoroughly enjoyed this performance and I am very excited to watch the progression of his career.

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Apart from the performance itself, there were many larger issues that were brought up by the concert last night and by the discussions that I have witnessed on the ever positive internet.

Many readers of this site are well aware of the increasing pool of phenomenal performers that are in the world today. One simply has to go to a big guitar festival to encounter not one but several guitarists that are really exceptional and gifted. Therefore, when reading article titles such as ‘The guitar has a new hero’ and comments that suggest that the guitar has been dead or dormant since the heyday of Segovia, Bream and Williams, I can understand that some people might find these ideas and statements grating, if not offensive. Similarly, the repertoire selection for the album may come across as redundant, given the ubiquitous recordings that already exist containing the same pieces.

A few months ago, when the promotional material started flowing, I was dismayed to read several vitriolic discussions on the internet regarding Milos. As we all know, the internet is particularly adept at fueling anonymous hatred, but I was saddened to see people lashing out at Milos for the amount of exposure he was receiving. In Australia this phenomenon is called ‘tall poppy syndrome’.

The fact of the matter is, a large part (a very large part) of the societies we live in have no familiarity with the classical guitar at all. I cannot tell you the amount of blank faces I have stared into when I tell people what I do. Then, suddenly their faces light up and say, “Oh! Like the Gypsy Kings!”

I think Milos is bringing the classical guitar and some of its most treasured repertoire to an audience that would otherwise be ignorant of our six stringed world. For that, I am grateful. If your particular taste in repertoire or performance is different, there are a multitude of performers out there that you can choose to support instead. In terms of the publicity that is being generated, I believe that in a media saturated world, publicity sometimes needs hyperbole. Just walk down broadway in New York city and count how many signs say “Best Coffee in the World!” (and I can tell you right now… the US does many things well, coffee is not one of them).

I have always been vexed by peoples tendency to bring down others that are in the same boat. I believe that if the guitar community shows support for others that do well, everyone will benefit. I can only imagine that our own guitar heroes in the past had their detractors, but I think we all know how much gratitude we owe them now.

In the end, the ultimate critic, time, will have the final say to Milos’ legacy, but it is my hope that the guitar community will encourage the success of anyone who is fortunate enough to have it.

To end, I will leave you with a joke:

How many guitarists does it take to change a light bulb?
100, 1 to change the bulb and 99 to say “I could have done it better”

- Simon

Transart TR168

Artist – Filomena Moretti

Reviewing recordings is easiest when they aren’t very good.  I mean, it’s easier to be critical, right?  People have made careers doing just that.  Putting aside, for the moment, the angst of writing something that may devastate the career of an emerging artist, it is much easier to pick faults than the reverse.  Indeed, it is often hard to put your finger on exactly why a great CD is great.

Such is the challenge for this CD of famous guitar encores by the Sardinian-born guitarist Filomena Moretti.  From the first musical phrase it is immediately apparent that Ms. Moretti has truly mastered her craft.  Her technique is flawless, a fact that should surprise no one familiar with her many international competition prizes and accolades.  The control of tempo and musical balance she maintains is testimony to a mature and thoughtful artist.  Her interpretation seems to get right to the heart of each composer’s ideas without the unnecessary personal ‘mark’ that other performers often add – usually detracting from the work.

One should hardly expect that a collection of famous guitar encores would include any duds.  After all, they were presumably chosen because they are – well – famous.  The programme reads like a graduation repertoire for any serious student, although it would be nearly impossible to keep all of them at the performance standard set by Ms. Moretti.

So, if you’re looking for a superb collection of guitar encores, this is it.  Filomena Moretti has assembled so many impressive jewels it is hard to imagine a more complete collection – including the title track – the poignant Narcisso Yepes arrangement of Fernando Sor’s “Jeux interdits.”  And if value for money is your thing, then the more than 78 minutes of music on this CD (I didn’t know that was possible) should seal the deal.

Reviewer

Dan S

Track Listing

Albéniz:

Mallorca, barcarola, Op. 202
Piezas Características, Op. 92: Torre Bermeja
Granada

Barrios Mangoré:

Vals, Op. 8 No. 4
Una limosna por el amor de Dios
La Catedral

Gounod:

Ave Maria

Granados:
Danza española, Op. 37 No. 5 ‘Andaluza’
Monti, V:
Csárdás
Regondi:
Rêverie nocturne, Op. 19
Schubert:
Ave Maria, D839
Sor:
Jeux interdits
arr. Narciso Yepes
Tárrega:
Recuerdos de la Alhambra
Fantasia sobre motives de ‘La Traviata’
Capricho árabe

The concert hall in Hartford was quite large, at my best guestimation (with several years of ushering experience under my belt) it was around 950-1000 seats and the Connecticut Classical Guitar Society did a good job of filling up about two thirds of those seats. When I purchased my ticket, I watched the finger of the seller glide allllllll the way to the very back of the seating chart, so, trying to be optimistic, I thought at the very least I could check out the famous lattice braced projection of his Smallman. When I squinted down to the setup on stage I was very glad to see an amplification system set up. Regardless of what you think of amplified performances and their effect on tone, you will be very happy to see it when you are up in the nose bleed section like I was.  Throughout the performance, I thought the sound was excellent. A very full, bass rich sound that carried to the back of the auditorium and although I prefer the intimacy of a 300 seat hall, the Bushnell did give a sense of grandeur to the occasion.

I have been fortunate to see John Williams perform five times before, and each time the performance came across differently because I was at a different stage of development with my own playing. On this occasion, I could appreciate the complete command that Williams has on the instrument and how he managed to keep me totally engaged throughout a program that was largely comprised of evergreens. I found the rhythmic drive, particularly in moto perpetuo style sections like La Catedral, very compelling. It made me think that perhaps his enviable rhythmic stability has developed from the huge amount of collaborations he has undertaken with other musicians.

Williams performed a selection of his own works in the program ‘From a Bird’ and ‘Hello Francis’. It was the first time I had heard these pieces, and what I really enjoyed, was seeing a completely different side of Williams. It is something very special to see a composer perform their own works, it is very exposing in a way. Following his own pieces with a selection of Barrios, Williams made a nice connection between himself and Barrios in his programming. (Barrios was another composer that frequently performed his own compositions)

After the concert Williams met some fans and friends and was kind enough to pass on advice to some aspiring young musicians.

All in all it was a wonderful concert, a great artist who delivered a great performance.

The Raw and the Cooked (Le Cru et le Cuit) – Stephen Goss

Still the Sea – Stephen Goss

Adagio and Fugue – Christopher William Pierce

Three Pieces for Two Guitars – Christopher William Pierce

Niterói – Roland Dyens

Comme des grands – Roland Dyens

The debut recording by ChromaDuo is nothing short of inspirational. Tracy Anne Smith and Rob MacDonald have selected some wonderful new repertoire, most of which was written for the duo, and produced an extremely high quality recording both in production standards and musical execution.

I cannot count the amount of conversations I have had with other guitarists about the rich new repertoire that is so often neglected in favor of the evergreens. So it is to my utter delight that I received a recording completely full of wonderful new music, performed by wonderful musicians.

I have been a fan of Stephen Goss for some time now and I was not disappointed with the two works presented on this CD. “The Raw and the Cooked” has a wonderful sense of playfulness as it quotes a variety of styles and composers at differing levels of obscurity. Made up of nine short movements that can be played in any order, I can see this work become a favorite among guitar duos very quickly. The second work by Goss is of a very different nature and it displays the formidable breadth of this talented composers style. Written as homage to Toru Takemitsu the work explores a variety of guitar sonorities.

I have not come across the works of Christopher William Pierce before, but I am very glad that ChromaDuo has made me keenly aware of such a great composer. Both his works “Adagio and Fuge” and “Three Pieces for Guitar” are absorbing to listen to and I found myself repeating the tracks over and over again. Combining lyricism, a variety of harmonic landscapes, and a strong sense of form and development Pierce has a style unto his own which, refreshingly, sounds very un-guitaristic while at the same time sounding idiomatic on the instrument.

Roland Dyens, who is a much more familiar composer to classical guitarists has once again shown his comprehensive knowledge of the guitar to produce both a very rhythmic “Niterói” and a very nostalgic “Comme des grands”. While being solid works on their own, the compositions did not capture my imagination as much as the preceding works by Goss and Pierce.

The duo has used an enviable coupling of instruments for this recording. The combination of a Dammann and Teryks guitar produces a crystalline, brilliant sound. Both players execute their parts with such finesse that the listener is free to appreciate the quality of the music, and in my opinion, this is one of the highest compliments a musician can get.

I will be recommending this CD to my friends and colleagues, and if you get the chance to listen to it, so should you. Let’s support innovative artists.

http://www.tracyannesmith.com/ChromaDuo.html

Simon Powis

How do you put into words what is essentially a “stream of consciousness” experience and capture the composer’s main ideas?  It’s one thing to write about an evocative scene that describes the beauty of the Alhambra, quite another to get inside the complex musical ideas and rhythms of Karl Korte (b. 1928).  As the liner notes indicate, music by this distinguished American composer is difficult to classify.  His compositions reflect influences of Maori, Turkish, Arabic, Japanese and other cultures.  He is an explorer – a discoverer – and a reinterpreter.  His aim “to blur the boundaries between the instruments” works extremely well in this collection for guitar, violin and cello.

Duo46 (American guitarist Matt Gould and violinist Beth Ilana Schneider-Gould)  are joined by cellist Erich Oskar Huetter in the 2004 composition Evocation, a work that “evokes” impressions from the composers travels – both actual and imagined.  The intricate rhythmic ideas must surely require enormous effort and concentration by the performers – lots of sideways glances and nodding gestures – making a live performance perhaps nerve-wracking for the musicians and intellectually engaging for the audience.

This same feeling occurs again in the duo’s interpretation of Two Makams (2003) in which the asymmetric patterns found in Turkish time signatures shift throughout the piece.  Both Matt and Beth are on firm footing due to their own extensive and distinguished work around the world, including their residency at Eastern Mediterranean University in the Turkish Republic of Northern Cyprus in 2004.

The 2010 release of this CD highlights the immense artistry and musical scholarship of these two fine musicians.  Their extensive repertoire, extending back to the ensemble’s 1994 formation, is noteworthy for their strong advocacy of chamber music from the past 100-odd years.  Bravo to them both!  This CD will reward a serious listener with its riches and insights.

Dan S.

The accord cases have been around for some time now and they have done well to establish a reputation for making quality carbon fiber cases for a range of purposes.

Appearance

Simply put, these cases are beautiful. With a high gloss finish or matte finish and a sculptured, curvaceous frame Accord cases attract attention and admiration wherever they go. However, this may not always be the desired effect in some places around the world where its better not to advertise that you have your life savings attached to your back. Carbon fiber has a very distinctive weave pattern that Accord has allowed to dominate the surface of the case. As you can see in the photos in this post the cases are spattered with a paint effect that makes each case look unique. There are many colors to choose from – the two pictured here are red and “safari”. The inner lining has a beautiful velvet sheen and also comes in various colors.

Construction

Accord cases are crafted very well and there has been no expense spared on the materials used. The four latches are easy to use and they feel very strong. Out of all the cases I have owned, the latches have caused the most frustration. After all the problems of hooks catching, locks not working, and entire latches breaking its nice to come across functional sturdy latches like these. Also having only four latches (as opposed to six on other cases) means less hassle when opening the case. That said, the two halves of the shell do stick together when opening the case making it a two-hand operation.

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The handle is also top quality with a nice leather grip and a firm attachment to the carbon shell. The case has several rubber feet that allow you to prop the guitar up on its end or flat on the floor without scratching any surfaces.

Protection

The hard shell of the Accord case is for all intents and purposes – puncture proof. If you have a search around on the internet you might find some funny videos of people jumping on the case, driving over it or maybe shooting it with a gun – who knows – but this case is rock solid and with common use it will never be punctured. What no case can claim, the Accord included, is complete protection from being dropped. With such rigidity the Accord case would actually transfer the energy of an impact quite well to the inside of the case. The cushioning provided by the lining will add protection in these situations but as the case is so slim, there will never be enough to fully protect the instrument from a big fall onto a hard surface… like airport tarmac.

Weight and Size

Carbon fiber is strong and light which means that your back/carrying hand will thank you for investing in a light case. I have come across lighter cases but never ones that provided such protection in tandem with very little weight. Being form fitting means that this case will have a better chance at fitting in over head lockers on plains trains and automobiles.

Back-straps and lumbar support

The two cases that were used for this review both had back-straps added to the case. The standard case does come with some straps that can be attached, but this particular setup used additional hooks and latches that allow for a much more elaborate and comfortable strap system. The attachment includes a bag to put sheet music in, a lumbar cushion (that can be detached and used as a seat cushion) and a very comfortable pair of cushioned straps. More than anything it is the ergonomic positioning of the straps that makes this addition so impressive. Impressive doesn’t come cheap unfortunately and the addition of this kit cost around 200 euros (around 280 USD)

The down sides of the additional kit is that the case no longer lies flush against the floor when you put it down and it would also prevent you from using a Colorado case to get it on-board flights. The cushion is easily removed, the straps also with a little effort but the small bag is attached permanently.

Price

Here is the sad part. If you want an Accord case it is going to set you back anywhere between $1500 and $2000 depending on the dealer, setup and customizations. If you have that kind of money to throw around then it’s a bit of a no-brainer but for the rest of us you might want to consider if you really need such an expensive case and how often you have javelins hurled at your back.

Bottom line

If you can afford it, get it. Otherwise there are plenty of cheaper cases that offer a little less protection, are a little heavier and don’t look quite as good, that will suit you just fine.

Organization and Students

Festival participants are free to partake in the proceedings for a matter of days or stay for the entire duration. While this offers a lot of flexibility to students it also creates a less coherent student community and you may find this festival more disparate than others. What really makes this festival tick, however, is the camaraderie among students who organize their own outings and the staff who are organized, accommodating and very friendly.

Veronique van Duurling and Veerle D'hoest

Masterclasses

The masterclass lineup at the festival is very impressive with David Russell, Manuel Barrueco, Leo Brouwer, and Sergio and Odair Assad being regular instructors. Students can elect whom they would like to study with in courses that run between two and three days. These courses have a limited enrollment of around 12 people each and the more popular ones fill up quickly, so be sure to apply early. Courses currently cost 175 euros for active participants and 55 euros for passive.  For this price the experience can be somewhat limiting as for 175 euros you only get one hour long lesson with the instructor. So if you want to have several lessons, be sure to have deep pockets too! The real value comes with free admission to all of the festival events once you have registered for at least one course.

Competition

Sanja Plohl

In addition to the classes there is also and international competition that is open to all class participants. The turn out for 2010 was strong, perhaps due to the free choice of repertoire, and consisted of two rounds of twelve and twenty minutes duration.  Prizes include a concert guitar by Jose Ramirez and a return concert in the following festival. This years finalists included 1st prize Sanja Plohl (Slovenia) 2nd Prize Mircea Stefan Gogoncea, and 3rd prize Veronique van Duurling (Belgium). Mircea started the proceedings with a very colorful and mellifluous rendition of Tansman’s Variations on a theme by Scriabin followed by the virtuosic Capriccio Diabolico by Tedesco, then Sanja played Aguado’s ubiquitous Rondo in A minor and after breaking her nail bravely went on to carve up Rodrigo’s Sonata Giocosa. Veronique opened with Sor’s Mozart variations and ended the competition with two movements from Domeniconi’s everwool – Koyunbaba

Concerts

Concerts in the festival are as diverse in content as they are in location with performances from Pepe Romero and Ignacio Rodes to Placebo and Deep Purple to Paco de Lucia and Joan Manuel Serrat. If you have an equal interest in rock legends and Flamenco then you will be in guitar heaven here at the festival. With seven venues housing the different concerts, you might find yourself doing a fair bit of walking but with Cordoba being a small city the furthest venues are only a short taxi ride away. With student status you gain free access to almost all the concerts, which is a great deal.

Accomodation

Cordoba is spattered with little hostels that are close to the festival buildings but for a couple of reccomendations:

Hostel Sanata Ana – around 35 euros per night with air con, tv, wi-fi and a nice bathroom

Hostel Plateros – around 28 euros with breakfast air con wi fi and bathroom.

Plateros is one of the nicest places to stay that I saw during the festival as it has a quiet street with an outside restaurant and is right across from one of the concert halls.

Getting there
Cordoba isn’t serviced by an international airport and the easiest way to get there is by taking the AVE train from Madrid/Malaga. The AVE is a high speed train that will take you directly to Cordoba from Madrid in under two hours. After purchasing my first ticket from the Renfe site on the web I found out that its about 50% cheaper if you just turn up at the train station. Its the low season in Summer so you will most likely get a seat without reservations.
From other cities, like Granada or Seville there are regular buses that are cheap and effective.

The kaleidoscope of colors and effects that Funk Pearson employs in his compositions are inventive, capturing and always used with great purpose .  The sound of the guitar, with all of its song like, quirky, and even humorous qualities, is explored and manipulated to the point that, at times, I was wondering just how those exotic sounds were coming out of the guitar! Funk Pearson obviously has a profound knowledge of the instrument and he hones in on the expressive qualities that have endeared musicians around the globe. This album feels as much an homage to the guitar as it is to the composer himself.

From the very familiar and warm sounding Variegations to the alien landscape of Mountain Moor, Funk Pearson morphs and molds his compositions to create unique and distinct objects. Perhaps the most inventive and breathtaking work is an encore entitled ‘Sea Peace’ performed by B.A.M at the end of the album. A wonderfully evocative piece, sea piece uses the violin, guitar and mandolin to create a maritime vision that will leave you ensconced. I have rarely heard such an inventive use of acoustic instruments.

The performances are first rate on this album as are the compositions. Stephen Funk Pearson has made a great contribution to the guitar’s ouvre and if you haven’t familiarized yourself with his works I can highly recommend that you start with Artists Around the World Perform Stephen Funk Pearson.

You can visit the composers website at

http://www.stephenfunkpearson.com/

The Fifth Row

Travelling around the Rocky Mountain Northwest in the United States, Weber recorded each track at a unique old theatre at the late hour of 3am. The old theatres that were used, did not have the soundproofing that modern concert venues have and it was a necessity to record well into the night to have a quiet environment. The audiophiles out there will enjoy listening to the very subtle differences on each track, however, for me, the imagery and romanticism of the story behind the recording is the most interesting aspect and it influences the entire listening experience.

Weber’s playing on the CD has a full and earthy sound that is different from most of todays highly perfected recordings. Many modern recording artists will take great pains to eliminate any extraneous sounds on a recording while carefully sculpting the sound in post-production. Weber allows the guitar to sing in its own gritty and earthy voice that has a broad range of colors. Weber says, in his beautifully presented liner notes, that “I did nothing to filter out the creaking and popping noises the theater itself made as it cooled in the night air. In fact, I welcomed them.” Weber plays with a lot of character that will appeal to a broad audience and his own compositions manage to hold their own alongside some light offerings by Bartok, Telemann and Dvorak. Tango on Spanish Creek (track 6 by S. Weber), is for me the standout track on the recording with a folk-like feel and a particularly attractive use of harmonics.

The recording is on the shorter side coming in at under 35 minutes and its repertoire does not delve into particulary complex harmonic language or stuctures. The Fifth Row is, however, an absolute pleasure to listen to and it will appeal to a broad range of listeners.