Yes, It was the third time that I participated in the GFA and what I learned from doing it before was to really prepare the required and set pieces well. In the pieces that everyone else also performs one really can be compared with the other competitors. My strategy was to work a lot on the set pieces. As I am personally not a really fast learner and I need quite some time to digest the musical content of a piece, my intent was to have as few engagements as possible the months before and locked myself and my guitar into a room.

Could you tell us something about how you prepared the required as well as the set piece?

This years quite unusual choice of the required piece was Darius Milhaud’s Segoviana. This piece was quite a nut to crack for me, it is a kind of collage of short fragments and many aspects of the notation are quite misleading. In addition, a lot of freedom is left for the performer. So unless one is really clear about what is going on and captures the mood of the different fragments it can become hard for the listener to follow. However, Milhaud’s ability to create music in previously unknown territory is evident in this work just as much as in any of his other works. For me the one of the most important keys to the work became to really let every note sound; there is so much information within the two pages the piece fits into that there is really no need to rush anything. I therefore chose a fairly slow tempo and allowed long fermatas in between sections, although, not too long as then one can lose the feeling of continuity.

The set piece was also quite something substantial to bite into. It was written by the Canadian composer Denis Gougeon. A composer who normally expresses himself in larger forms, of which many have been highly praised. He has written for orchestra and chamber ensemble and his expressive and dramatic writing style has lead him to writing operas and music for the theatre. The guitar piece, although not large in form, is very dramatic in nature. Just the title Lamento- Scherzo suggests a great contrast between a very sad, serious mood to a swift and happy part. Throughout the six weeks I really became enamored with the piece and I have decided to put it on the my GFA Naxos recording. During the last weeks I have also been in contact with the composer and it is really a interpreters dream to receive such direct insight into the music.

What methods do you using when learning a new piece?

When it comes to the process of learning new pieces I like to take more time than six weeks but when time is short I guess one’s methods of learning are put to the test. In order to start practicing a piece one needs to have fingerings done and that takes time. The fingerings is a very important aspect on the guitar more than any other instrument as we have so many possibilities. Ideally, the fingerings should express your very innermost feelings and understanding of the music. The fingering therefore makes a very important statement about our musical personality. So for me the first step is to get to know the piece, by playing it, analyzing it, singing it, thinking about it etc.. When time is short I also try to spot the difficult bits as soon as possible and finger those first. Once I am happy with the fingerings of a passage I start practicing that one even if the whole piece is not fingered, that makes the work more varied and then also more fun. I am also always open for change, after all one can not know if a fingering is good until one can play it in tempo and in context. Then when it comes to learning the piece it is always good to start practicing small segments slowly, in order to not learn it with mistakes. The metronome is also of great help at this point; I put it on a quite fast number and play one note per beat, that makes me really play every note. It is also good to play each note more than once, I try to make it into a habit of practicing all sections repeating each note three times at least once, and for the difficult passages more. In case with the slurred notes I either play all three with the left hand or just the first and then pluck the other two. It is also a good idea to to lift off the fingers of the left hand after each of note played. At this point it is also good to practice the hands separately. When playing with the right hand alone it is done as usual and when playing with the left hand one hit each note so that one hears the pitch (open strings can either be slurred or left out). Once I am comfortable in the slow speed  I move to faster tempos, it is important to keep it challenging but not so much so that one does not have control. Once I can handle faster tempos, I tend to prefer to leave the metronome, but I also go back using it in slower tempos as much as is necessary. Another aspect, which is a bit more far fetched, is to ,even in very slow tempos, keep the musical idea in mind and bring it out even if only practicing very short sections. This is something that one of my teachers Zoran Dukic always made a point of; to “always keep the musical idea in mind”

When we dedicate so much time and energy into something it can be hard to maintain the inspiration and enthusiasm, how do you deal with that?

In my preparation work I tried to keep myself as inspired and stimulated as possible. I love listening to music, especially live, that is somehow the real thing, but as there is no possibility to hear any piece in concert at any time, recordings provides exactly that instant availability which concerts don’t. However, I make a point of never listening to other peoples recording of pieces I am playing. Instead I listen to other works by the same composer or music in similar style. In the case with Gougeon’s piece there are of course no recordings, but there was plenty of his other works that I bought on itunes. Listening to some of those pieces over and over again was crucial for me to be able to grasp his musical language. I was also keeping myself in tune by watching one of my favorite movies which is a documentary about the romanian conductor Sergiu Celibidache called Celibidache’s Garden. In there his view on music as way to access higher states of consciousness and his 100% dedication to his profession is captured brilliantly. One of Celibidache’s methods I also applied to my preparation work. To first work on every detail very consciously, being totally aware of the structure and try to understand it in every aspect. Then one has to forget it all and just play it intuitively. So first one has to learn it, but then one has to “live it”.  Due to this approach it all came together in a peak for me during my performance in the final. It was a wonderful experience, I was there merely as another listener watching the music form itself in front of us. Due to this experience I have not really been able to take credit for winning the competition I can not say that I was playing. At least not the “I” that I normally perceive myself to be.

So finally after a lot of hard preparation work what was it like to win first price?

The thing is that I have two sides, one extremely introvert, this side of me comes out the most when I go into composing, and the other very extrovert, that one likes to perform and meet a lot of people. So during a long period of extremely introvert work, my extrovert side was extremely happy to be performing and being in the middle of the attention. Winning the GFA was truly a wonderful sensation, it was one very important step in having my dream coming true, to be able to live a life dedicated to sharing my love for music.

Read more about Johannes here

In an anemic classical music recording industry, its pretty big news that Mr Karadaglic has been signed by one of the most prominent labels in the biz. For guitarists as a whole this is great news but especially for Miloš. I had the pleasure of studying alongside Miloš at the Royal Academy in London back in 2003 and I can not think of a more dedicated and sincere musician to become a banner bearer for our clan! Bravo Miloš!

Here is the original release:

Deutsche Grammophon is delighted to announce the signing of an exclusive recording-agreement with guitar virtuoso Miloš Karadaglic.

This young classical guitarist is preparing his début album for release in spring 2011.

Michael Lang, President, Deutsche Grammophon, said, “We’re thrilled to work with Miloš – he’s a terrific talent, an engaging personality – and we know the time is now to re-establish the classical guitar in the world of music. Miloš is the one.”

The début album by Miloš will pay tribute to the guitarist’s own Mediterranean roots. Featuring music from his Montenegro homeland and from the Balkans and Spain, and by composers such as Granados, Domeniconi and Albéniz, the recording will explore the Euro-Arabian world that his instrument has come from.

Born in Montenegro in 1983, Miloš has already established himself as one of today’s most gifted guitar virtuosos. He began playing the guitar at the age of eight, and quickly won national recognition for his performances. At sixteen, he was awarded a scholarship to study at the Royal Academy of Music where, after graduating with First Class Honors, he went on to complete a Masters degree in Performance.

Miloš said of his signing: “Deutsche Grammophon is a home to many of my musical idols. When I was a child, I remember listening to the great guitarist, Andrés Segovia, and dreaming that one day I, too, might have such a career. Now it is becoming a reality and my dreams are being fulfilled more quickly than I could possibly have imagined. I am honored and excited to begin my collaboration with this fantastic label and hope, through my playing, that I will bring the guitar to a new generation of listeners.”

Musescore – Free music composition and notation software

Of interest to all musicians is a notation program called Musescore. Using a WYSIWYG (what you see is what you get) style editor this user friendly piece of software could be a great alternative to the complex and pricey Sibelius and Finale. If any guitarists out there have experience with this software please let us know what you think!

http://musescore.org/

More Competition Winners

Srdjan Bulat has won the 11th Julian Arcas competition in Almeria (Spain) and in doing so has received a handsome ten thousand euros, a recording contract, guitar by Juan Miguel Gonzalez and several concerts. Not too shabby

Rafael Aguirre Minarro was awarded first prize at the Koblenz International Guitar Competition in Germany followed by Andras Csaki in second place.
See press release from Koblenz

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.

A classical guitarist won 10 million dollars in the lottery last week. When a reporter asked, “What are you going to do now?” He replied with determination…

“I will keep giving concerts until the money runs out.”

A guitarist.

How do you make a guitarist’s car more aerodynamic?

You remove the pizza sign off the top off it.

(from Al Maggedon)

None. They won’t touch anything electric.

He doesn’t know when to come in.

Dad says, “Okay, but you must do this properly and take lessons on the instrument. What do you want to play?”

Junior replies, “I want to be a bass player.”

“Fine,” says the proud Dad and he goes out and buys a Junior a bass and amp and arranges for the lessons. Junior returns from his first lesson and Dad asks how it went. “Great!” says the lad,”I learned all the notes on the E string.” “Terrific!”, Dad replies.

The next week Junior returns from the 2nd lesson. Dad asks again how it went. “Cool”, says Junior, “I learned all the notes on the A string.” “Good progress,” smile Dad.

The next week Dad comes home to find Junior sitting with his Nintendo. “Hey, I thought you had a bass lesson today. ” Junior looks up and says, “Yeah, but I blew it off, I’ve got a gig.”

A pizza can feed a family of four.

Pay for the pizza.

Give him some music to read.

A demented chord

Stephen follows Jim up to heaven and gets the same questions. ‘I had a great time! Lots of parties, time at the beach and a beautiful family’.   Good, come on in.

Gilbert was next in line and gets the questions from St. Peter. ‘Well, after my third marriage I had to sell most of my things to get by and I took a part time job at a burger joint. Life wasn’t as great as I thought it would be in the beginning’. ‘That’s a shame’, says St Peter. ‘So tell me, what type of guitar do you play?’

Throwing a lute into a dumpster without hitting the sides

3. Answers 1 and 2 mean that you’re hallucinating.

Ten.

One to change the bulb and nine to tell you how they would have done it better.

Someone who knows how to play serial music, but doesn’t

A classical guitarist with a pager

Give him a sheet of music.

With a large array of prestigious awards and highly acclaimed performances on renowned festivals, Irina Kulikova is considered one of the most gifted musicians on classical guitar. She is well known for the depth of her interpretations and the rare spectrum of colours she evokes. Irina Kulikova has the capacity of fully opening up to music, dragging audiences around the world with her into a most profound and enchanting experience.

Irina Kulikova was born in Chelyabinsk, the capital of South-Ural, Russia. Under the guidance of her mother – cellist Vinera Kulikova – she started developing her musicianship from the earliest age. At twelve, she was already travelling around Russia and abroad for gala-concerts and festivals. At fourteen, she was included in the book “The Classical Guitar, its evolution, players and personalities since 1800” by Maurice Summerfield.

Ever since this early recognition, Irina has caught the attention of leading guitarists, critics and audiences around the world. She has given concerts in twenty five countries, performing as a soloist, in a variety of ensembles and with a number of orchestra’s.

The experts’ appreciation has been underlined with numerous awards on prestigious international guitar competitions, culminating with five 1st prizes in 2008:
# ‘Michele Pittaluga’, Alessandria, Italy
# ‘Guitarra Alhambra’, Valencia, Spain
# ‘Forum Gitarre Wien’, Austria
# “International Guitar competition Iserlohn’, Germany
# “Scharpach Guitar competition”, The Netherlands.
In the same year, she was awarded the ‘Young talent, Culture and Podia’ award in The Netherlands.

Between 2008 and 2010, Irina Kulikova was invited for concerts, master classes and adjudication on festivals in 15 different countries, including ‘Musical Olympus’ in St.-Petersburg, ‘Luigi Legnani’ in Italy, Naxos in Greece, ‘J.K. Mertz’ in Bratislava, Slovakia, Niksiç in Montenegro, Esztergom in Hungary (the oldest guitarfestival in the world), Split in Croatia, Rencontre de Guitare Classique in Nice, France, ‘Guitarra Alhambra’, Spain, and Saltillo in Mexico.

Highlights for 2010 – 2011 will be two new CD-recordings with the Naxos label (including a CD with Russian composers),concert tours in Canada and the USA, a concert with the State Symphony Orchestra “New Russia” at the VI Moscow International Festival “The Guitar Virtuosos” in the Tchaikovsky Hall and a concert at the XXth anniversary of the Iserlohn Guitar Symposium in Germany.

# Irina Kulikova graduated with distinction at the Mozarteum University in Salzburg (Austria), the Gnessins Academy in Moscow (Russia) and the Conservatoire of Maastricht (The Netherlands).

Recent awards

First prizes:
# Michele Pittaluga, Alessandria, Italy, 2008
# Guitarra Alhambra, Valencia, Spain, 2008
# Forum Gitarre Wien, Austria, 2008
# International Guitarcompetition Iserlohn, Germany, 2008
# Twents Gitaarfestival, The Netherlands, 2008
# International Guitarfestival of Coria, Spain, 2006

Second prizes:
# International Guitarfestival Naxos, Greece, 2007
# Norba Caesarina”, Caceres, Spain, 2007
# Ivor Mairants Guitar Award”, London, England, 2006

Third prize:
# ‘Printemps de la Guitare’, Charleroi, Belgium, 2006

Stipendium:
# Young talent, Culture and Podium prize, The Netherlands, 2008

I digress…

Here are some of the most contentious guitar topics on the web…

The bestest mostest of all time(est)

Arguments about opinion seem to be a little pointless, but that’s just my opinion. The best guitarist, the best guitar, the best string, Spruce vs. Cedar

Historical accuracy

I once uploaded some program notes that I wrote when I was in my first years of university. The content was written on a little known work by J.S.Bach entitled Chaconne BWV 1004. Wow. Big mistake. I received so many messages from everywhere saying that the information was ‘bogus’ and that the article itself was ‘deplorable’ that I took the article down. Admittedly, the article was of a poor scholarly level and I did not want to spread mis-information, but my first experience with the internet’s very particular style of scrutiny was a little shocking. I kept thinking, can’t we all just get along?

Apoyando vs. Tirando

This epic tug of war was started by guitar heavyweights in 19th century Paris (More like 7th century Uganda, check your facts mate!) and it still rages in the guitar forums of today. Which way do you tug?

Censorship

Specifically tied to the Delcamp forum is a particularly perturbed pluck of guitarists that feel they have been victimized on the forum. In some cases they claim to have posts removed and in others they have been banned entirely. The cases for and against censorship on the Delcamp forum are strong, but you cant argue with the Mod. Because he has the delete button.

Big Personalities

Some people get a kick out of stirring up trouble, some are passionate, and some just feel the need to abuse but there are a certain few who regularly appear amidst the flames… you know who you are.

Got any good flame stories to share?

Leave them in the comments below.

Craig Ogden, the phenomenal Australian guitarists has reportedly left his valuable 2003 Greg Smallman guitar in the back of a London cab. After several attempts to recover the instrument his record label has offered a 5000 pound reward for its safe return. Any information can be sent to:

lostguitar@classicfm.com

Competition Winners

GFA – Johannes Moller

Cordoba International Guitar Festival – Sanja Plohl

Boston Guitar Fest – Artyom Dervoed

JoAnn Falletta International Guitar Concerto Competition – Artyom Dervoed

Koblenz International Guitar Competition – Rafael Aguirre Miñarro.

Concerts

John Williams – Wigmore Hall London – Wednesday 13 October 2010 – 7:30 PM

Craig Ogden - Royal Albert Hall – 30 September

Simon Powis - New York Classical Guitar Society – September 12