Trio Bolero’s WaPo Review

The Marlow Guitar’s Saturday January performance Trio Bolero has a review in the Washington Post Style section.  See the article here (it is second on the page, so you may need to scroll).

Do you agree with the review?  What did you think of the Trio Bolero’s performance?  We welcome comments either here or on our Facebook page!

Trio Bolero – January 29th, 2011

The reunion of “Trio Bolero” brought three good friends and musicians together to play spirited and passionate music, arranged by Miroslav Loncar but tweaked in rehearsals by all three players.  Rebekah, the cellist, noted that all the music they play pre-dates the computer-generated sheet music of today.  It’s all hand written! And as a testament to the professional habits of fine performers who hadn’t seen each other in 13 years, all of their music was intact as they reassembled to perform last night’s program.

The majestic sounds of the cello offered a sweet and wonderful companion to the rich and sprightly guitars as they romped in the delightful music of Bartok, Rachmaninoff, Faure, Boccherini, the Bizet, Gnattali and our good friends, Vivaldi and Gershwin.

Two encores and a standing ovation brought the audience to their feet for a rousing thank you to the musical banquet offered by the “Trio Bolero”.

– Tim

 

Fantastic article on Trio Bolero in Gazette!

There was a lovely article on the Trio Bolero in the Gazette today.  Take a look here.
Marlow Guitar will be presenting the Trio Bolero this Saturday, January 29th, at 8pm at the Westmoreland United Church of Christ, 1 Westmoreland Circle, Bethesda, MD.  Click here to buy tickets.

Just a reminder, if you come early, we have a Pre-Concert Lecture by Larry Snitzler at 7:15pm.  If you stay a little after the concert, there is a chance to meet the artists and other concert-goers at our free wine-and-cheese reception.

We hope to see you there!

Holiday Special – Comfort and Joy Holiday Series

Searching for a holiday gift for the musically inclined?  Consider the Comfort and Joy Holiday Series from Marlow Guitar!  This holiday special features the remaining four concerts of the 2010-2011 Season in one package, at the price of $84 (a 20% savings).  It’s a great deal!  This offer ends on December 18th, so get one now!  It’s already December 2!

Click on the words “Holiday Special” on the Marlow Guitar website!

 

Music Scholarship Competition

A note especially for our younger audience members:

The Beatty Music Scholarship Competition (run by a sister organization to the Marlow Guitar Series) will be starting up in March ’11.  See their UPDATED website for the application and music to download – available now!

Carlos Perez Concert Review

As always, we welcome your own thoughts and comments on the evening!  Please feel free to add your comments here!

The recital of Carlos Perez, Chile which we presented on Nov 13 at Westmoreland Congregational United Church of Christ has occurred.  Let me comment on the evening:

Around 6:30 pm, we entered the Church a bit tentatively, as we had been told that the furnace was being completely re-built and we were worried that it would be too cold.  It wasn’t.

Carlos came to the stage and began immediately with a Cello suite by J.S. Bach.  It was lyrical and colorful and delightful.  The program continued apace with the wonderful, virtuosic playing which we have come to associate with Carlos.  His dizzying speed was never carelessly thrown in but always used to good effect.   The reviewer from the Washington Post had the following to say:

CLASSICAL MUSIC
Guitarist Carlos Perez
The six-concert Marlow Guitar Series at Westmoreland Congregational Church in Bethesda draws capacity audiences. Saturday’s revelatory performance by classical guitarist Carlos Perez proved no exception.

Fresh from a Carnegie Hall début, he is an expressive, impassioned player with astonishing technical prowess. These qualities stood him in good stead through most of the evening, which he dedicated to his native Chile’s bicentennial and the recent rescue of trapped miners in that country.

His most persuasive playing came in the second half of the program with 20th-century works by Venezuelan Antonio Lauro and Spain’s Joaquin Rodrigo. In three pieces by Lauro, Perez underscored the slightly Viennese lilt of the “Vals Venezolano,” caressed the “Romanza” with pure poetry speaking of ancient modal melodiousness, and raced through the “Pasaje Aragueno,” missing none of its Spanish fandango undercurrents.

Rodrigo’s “Elogio de la Guitarra” brought the absolute peak of the evening, Perez showering on it a lofty degree of imaginative coloring, dramatic twists and sheer virtuosity. Four Chilean folk songs arranged by the guitarist ended the concert on a melodious, contemplative note.

But the Bach Suite, BWV 1010 (originally for cello and transcribed by Perez), was unconvincing. Except in the freshly paced Gigue, the composer’s signature metrical and harmonic pulse was lost in the performer’s aimless subjectivity with plodding tempos and exaggerated ritardandos at every cadence.

The fabled Spanish guitarist Andres Segovia used to play in the vast openness of Washington’s Lisner Auditorium without audio enhancement. It would be interesting to hear Perez with no sound system.

— Cecelia Porter

I know that this review will offer Carlos some savory phrases for his career, so for this review we are surely grateful.

Tim Healy, Nov. 17, 2010

 

Carlos Perez’ concert review

Fresh from this morning’s Washington Post Style section – See page 2 for the review of Carlos Perez’ concert!