Classical Guitarist Antigoni Goni, GREECE

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ANTIGONI GONI, CLASSICAL GUITARIST Photo: Simone Scozzari

The Greek guitarist, Antigoni Goni, enjoys a truly international career, having performed throughout Europe, the US and Japan, from Carnegie Hall to the Bolshoi Theater, from Wigmore Hall to the Odeon of Herodes Atticus in Acropolis (Athens).

Having studied with such great masters as Evangelos Assimakopoulos, John Mills, Julian Bream, Sharon Isbin and Oscar Ghiglia, Goni brings her internationally acclaimed expertise to universities around the world through seminars and master classes. She is Professor of Guitar at the Royal Conservatory in Brussels and Artist-in-Residence for San Francisco Performances. She is also Founder and Artistic Director of the Volterra Project Summer Guitar Institute, an annual international festival in Tuscany. Prior to this she was Founder and Chair of the Guitar Department at Julliard Pre-College Division in New York City.

Goni’s career blossomed in the mid-1990s after she won the Guitar Foundation of America (GFA) Competition which resulted in some 65 concerts in North America and a contract with Naxos Records for whom she has recorded three highly respected and successful CDs.

Goni’s most recent CD, Hymn to the Muse, released in 2016 is a recording of works inspired by the Greek culture and heritage, composed and dedicated to her.

The John E. Marlow Guitar Series Premieres Greek Guitarist, Antigoni Goni

 “An eloquent player with a graceful touch and a rich sound”
New York Times

 Performing pieces from her 2016 CD Hymns to the Muse, along with pieces by Tárrega, and Mangoré and Merlin

Saturday, February 25, 2017 at 8pm
Westmoreland Congregational Church
1 Westmoreland Circle | Bethesda, MD 20816

Tickets: Adult $28 – http://www.marlowguitar.org

Students (18-22) $14, Under 18 Free with Adult, please call 301.799.4028

Pre-concert lecture at 7:00 pm
FREE “Meet the Artist” reception after concert.

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Where in the World?

GuitaristsFromAroundTheWorld

In preparation for a recent grant, someone asked where our guitarists have come from so, we listed the countries – wow!

Argentina
Australia
Belgium
Brazil
Bulgaria
Canada
Chile
China, Republic of
Colombia
Croatia
Cuba
England
France
Germany
Greece
Holland
Iran
Ireland
Israel
Italy
Mexico
Paraguay
Poland
Scotland
Spain
Turkey
Uruguay
USA
Venezuela

For more information about individual performers, go to www.marlowguitar.org/archives

http://us6.campaign-archive1.com/?u=260e2cdadb5d4d0f37b13018b&id=d37bba5619&e=cef6025dc1

Review: Deborah Drayer : Carlos Perez, Chile

JEMGSweb_squares_CP-smIt may have been a blustery February evening in the Nation’s Capitol last Saturday but that did not deter Marlow ticket holders from attending a superbly rendered program performed by Carlos Perez of Chile.  Fresh off delayed flights from all that fluffy white stuff the Northeast had endured, Carlos jumped right into his program and warmed the hearts of listeners with Dos Mazurkas by Manjon.  It was the beginning of an evening of comfort music with one delightful work after another.

The first half of the program was from the Spanish repertoire with two of the composers related by their studies with Tarrega.  But, first, Carlos gave us Manjon’s Dos Mazurkas, then he added the melancholic Aire Vasco with its remarkable and challenging passages of runs and arpeggios executed with disarming facility.  These were followed by the younger and longer lived Pujol whose Cubana made it difficult not to get up and dance — the muscle moving rhythms are so compelling it’s a shame to be seated for music so, literally, well, moving.  The Scottish Madrileno, too, was a dance form but could also be sung and it mimicked the voice in places were higher notes were held sotto voce for delicate emphasis.   This set ended with Damas’ Fandango Variado and all its dashing scales run over and over again with Olympian ease.  The audience was, then, well prepped for the second, southern half of the evening.

Round two brought us the South American’s in all their richness and color:  Barrios (Paraguay), Sagreras (Argentina), and Nazareth (Brazil).  Barrios’ Preludio Opus 5 is the kind of piece that gets the fingers moving in a way musicians love to play especially with it’s awesome coda, while the fanciful and fun melody of Maxixa, charming in its way, led nicely into the following work by Sagreras.  It’s worth mentioning here, that programming is an art in itself and good musicians know how to balance a program and lead the audience through the ages.  It can be done chronologically, by alternating centuries or decades to contrast style and musical development, or by grouping like-influences together.  Carlos gets that superbly well and demonstrated it in his own programming by putting space between Europe and the Americas.  These types of presentations teach us something about how composers are impacted by their own times and peers.  The programming itself can be a type of formative instruction and when one knows one’s craft, as Carlos does, it shows the composers and their work in a sometimes subtle, but revealing light.  Regis Ferruzza knows this too.  He’s always talking about how artists arrange their programs, and I trust he would agree, that this one gets high marks.

That being said, what impressed me most on this part of the program was the Nazareth Eponina — a slow waltz that just lusciously lulled the listener into the evening’s closing.  I imagined holding my child as an infant in my arms and dancing her to it to settle her in the evening before bedtime or comforting when it was needed.   What a precious gift it was.  There were many gifts last Saturday, but this one I took away in my heart.  Thank you, Carlos, for your gift and for an evening well told.

— Deborah Drayer