Contents BCGS Staff

Vol21 2_4p Cover R3 Final.qxp:NL 9/24/14 9:34 AM Page 1 BOSTON CLASSICAL GUITAR SOCIETY Volume21,No.2 newsletter Contents Letter to Members........................................2 BGO Follows Young Segovia........................3 Young Guitarists’ Workshop ........................4 Elephant in the Room ..................................5 Performance Parties ..................................6 The BGO in Madrid......................................7 Calendar ....................................................9 Classifieds ..................................................9 BCGS Staff Director [email protected] Treasurer GeorgeWard [email protected] Newsletter WillRiley,Editor [email protected] GeorgeWard,Production [email protected] BCGSBostonGuitarOrchestra ScottBorg,Director [email protected] PerformancePartyCoordinator J.OscarAzaret [email protected] Vol21 2_4p Cover R3 Final.qxp:NL 9/24/14 9:34 AM Page 2 BCGSNewsletter Volume21,Number2 Letter to Members 14th.Heisbyfaroneofthegreatestguitaristsofhis DearBCGSMembers, generation,andbothhisartistryandtechnicalwizardryhave impressedaudiencesworldwide.Finally,oursocietywillagain Ihopeyouareenjoyingthe hosttheNewEnglandGuitarEnsemblesFestival.NEGEFis beautyoftheNewEngland growingbyleapsandboundsandwehavethegreathonorof autumnseason!Weareonthe hostingCarloDomeniconi,agiantamongcontemporaryguitar cuspofbeginningatruly composers.RenounedforhisTurkish-inspiredcomposition spectacular2014-15Artist Koyunbaba,Carloiscomposingaten-minuteguitarorchestra Series.OnOctober17ththe pieceforusaswellasperformingasolorecital. dazzlingAnaVidovicreturns totheBCGSstage.Her Weencourageyoutoinviteyourfamilyandfriendstoshare impressivevirtuosityandenergywillbeaperfectwaytobegin theseupcoming,beautifulmusicalevents.Makeaneveningof ourseries.Czechguitarist/composerPavelSteidlwillvisitus itwhileenjoyingtheuniqueculturalandculinarydelightsof fortheveryfirsttimeonNovember14th.Ifyouwereoneof Boston! theluckyoneswhosawRolandDyensthispastspring,it’s enoughformetosaythatwhilePavel’sstyleisveryunique,he Ourquarterlynewslettercontinuestoprovidevaluablecontent willsimilarlyblowusawaywithhismusicality,wit,andartistic forourmembers.Thisissuefeaturestwowonderful pointofview.2015beginswithourflagshiprecitalofthe perspectivesontheBostonGuitarOrchestra’striptoSpainas seasonwiththelegendarySharonIsbin.Followinganationally wellasanaccountoftheYoungGuitarist'sWorkshopatthis televiseddocumentaryaboutherextraordinarycareer,tickets summer’sBostonGuitarFest.OscarAzaret,luthier,takesa willbeinverystrongdemand.PolishguitaristMarcinDylla fascinatinglookatanindispensable,yetrarelytalkedabout continuesourspringconcertswithanappearanceonMarch componentonourguitars:thebridge.Togetherwithphotos, announcementsandclassifieds,wehopeyoufindthis newsletteragreatresourceforallthingsguitar! Sincerely, DanielAcsadi Director,BCGS 2 Vol21 2_4p Insert Final.qxp:BCGS 9/24/14 9:51 AM Page 3 www.bostonguitar.org BCGS Newsletter BGO Follows in Young Segovia’s In fact, Segovia was far from famous when he first played the Ateneo and even had a hard time securing his performance Footsteps there. He was a self-taught young man from the provinces and By Adrienne Smith his Granada debut was just three years before. Additionally, the guitar was considered fit for folk music, not concerts. Many who heard Segovia play urged him to take up the violin instead. The night he performed, Segovia was close to broke and underfed. His suit hung off his body. But none of that mattered he Left to Right: Mike Hurley, Michael Bester, John Williams, Lin Hymel, Scott Borg, Conductor had a fantastic Donna Ricci, Karen Godoy, Don Hague, Adrienne Smith, Scott Borg guitar. For ten days in July, the Boston Guitar Orchestra made Madrid Eager to get his their home and performed to their hearts’ content. They played hands on a quality in a museum, a church, several cultural centers, and an instrument for his architectural college. They gave a midnight impromptu debut, Segovia performance in front of an ancient Egyptian temple. BGO played for the luthier Manuel director Scott Borg spontaneously played Albéniz on a subway Ramírez one day in train. They jumped on every opportunity to do what they love his workshop. and what they came for. Ramírez gave No small wonder they found themselves on the very same stage Don Hague, Karen Godoy, Lin Hymel, Mike Hurley Segovia the best where Andrés Segovia played his Madrid debut on May 6, guitar he had. He told Segovia, “Take it, kid. It’s yours. 1913. The performance was at the Ateneo, built in 1884 to Make it flourish in your hands with your good work. Pay house the city’s bourgeoisie cultural life (the name “Ateneo” me back with something other than money.” And that Segovia itself derives Athena, the Greek goddess of wisdom). The did. He played that guitar for twenty-five years, putting the auditorium’s Greek revival, gold inlay ceiling depicts twelve Ramírez family on the map of internationally known Spanish muses of art and intellect. Marie Curie, Einstein, and Mother luthiers. The guitar now resides in the Met. Theresa all spoke underneath it. Segovia’s Ateneo program included works by Mendelssohn By the evening of the Ateneo performance, the orchestra had and Tárrega, and Bach pieces that he transcribed himself. performed and practiced daily, eaten numerous leisurely late- There was no newspaper review of the concert - apparently the night dinners together, celebrated one birthday, and bonded writer who covered the music section also covered bullfighting over bullfights, torture museums and churros. They played on - but several letters from that time show what people thought. this stage of greats as one cohesive unit alive with the music One of Tárrega’s students found the performance “tasteless” and each other. because Segovia played his own transcriptions and used his The Spanish audience enjoyed the orchestra’s Concerto in D fingernails. Another concert goer thought Segovia “handled for 4 Violins by Telemann, My Funny Valentine by Rodgers and the strings with taste and dexterity,” and was “impressed by the Hart, Oriental from “12 Danzas Españolas” by Granados, wealth of possibilities offered by our popular instrument.” Oblivion by Piazzolla, and La Cumparsita by Rodríquez. A Flash forward a century, and rather than talk about the quartet within the group played Ode to Stromness from “The possibilities of the guitar, we now enjoy its full potential. The Yellow Cake Review” by Peter Maxwell Davies, Cantabile by orchestra played Toto’s Africa alongside Puccini’s Nessun Edson Lopes, and Catarete, Danca Popular de Mina’s Gerais. Dorma. Borg played a piece using more sound effects than Borg played Asturias and Cadiz by Albéniz. Tárrega’s student could have dreamed up in a million lifetimes Backstage, some healthy goofing around helped alleviate the (Koshkin’s The Prince’sToys). And overseas, this passionate pre-performance nerves. After all, it can be hard to follow in group of guitarists found audience after audience waiting to the footsteps of a legend. hear them do it all. 3 Vol21 2_4p Insert Final.qxp:BCGS 9/24/14 9:51 AM Page 4 BCGS Newsletter Volume 21, Number 2 Young Guitarists’ Workshop a Hit at Boston GUITARFEST By Will Riley few other people. I liked how it sounded when we all played Combining youthful energy, high-quality instruction, large together.” Rose C., age 12, agreed: “I loved playing in the ensemble playing, and a mission to help a younger generation girl’s quartet. My part was simple and it sounded so pretty with of classical guitarists build a vibrant community, the third the others. We were awesome.” annual Young Guitarists’ Workshop was by all accounts a YGW II Girl’s Quartet - rousing success. Held at New England Conservatory as part of Pictured L Boston GuitarFest 2014, the workshop drew 22 enthusiastic to R: Terra J., guitarists between the ages of 6-16 for a marathon six-day total Abbey Q., immersion into their instrument. During the workshop students Rose C., Kayla A. explored techniques to improve their individual musicianship, and discovered new possibilities that could only be achieved through teamwork. Many of this year’s first time participants had never played A major highlight of the week was the opportunity for all of the with other guitarists their own age. Adam Levin, one of the workshop participants to play together as an ensemble in world- Co-Directors of YGW, said, “One of the primary things we renowned Jordan Hall at New England Conservatory. The want to address is young people having experiences playing work selected for this performance was Terry Riley’s “In C”. together. To this end, we engage a like-minded community of This composition, conducted by YGW Co-Director Devin guitarists their own age, and place them in different ensemble Ulibarri, has a strong improvisational element, with rhythmic combinations. It was fantastic to see the connections that were groups progressing in a spontaneous fashion. Sasha V., age 10, made between the kids as they worked together at this year’s of Brookline, MA, noted, “I changed as a guitarist and musician YGW.” by getting better at staying in the same beat, which you need to The participants seemed to think so too. When asked to do if you are in an ensemble. Terry Riley’s “In C” helped with describe something she didn’t expect to learn at the workshop, this a lot! I really loved this camp!” Kayla A., age

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