The International Conservatory of Music (ICM)’s Board of Director invited Dr. Matthew Hinsley from the Austin Classical Guitar Society to speak.
Thank you, Matthew, so very much. Thank you to Duane Morse for organizing retreat and thank you to Charlotte Kuenen and David Kirstein for hosting. Thank you to the Board Members for coming and for your whole-hearted and enthusiastic participation.
The John E. Marlow Series had nearly a full house on Saturday as Margarita Escarpa graced Westmoreland Congregational Church with its magnificent acoustics and a program of Spanish and Mexican music punctuated by Wolfgang Lendle’ stunning take on Caprice No.24 by Paganini. We often hear Spanish music from guitarists of varying nationalities, but hearing it direct from this genuinely accomplished Spaniard was an extra special treat. While many of us are more familiar with the likes of Rodrigo, Albeniz, Ponce, Tarrega and Piazzolla however, it was the Variations Capricieuses d’apres Paganini that demanded the most technically of Margarita even as some variations leaned into the humorous for effect.
The Lendle Paganini arranges the original thematic material for solo violin for the modern acoustic guitar, introducing fingering Paganini himself might have found challenging had he been a guitarist. Scales and arpeggios fly off the strings with enormous effect but only if both of the artist’s hands are up to it. Fortunately for the assembled, Ms. Escarpa had no difficulty meeting the challenge and any less calloused player would have walked away with a box of band aids in their pockets. But, Margarita needed no first aid and came back for the second half of the program with fingertips intact and serenaded us with habaneras and tangos by Tarrega, Sainz de la Maza and Piazzolla, as well as Ponce’s now rarely performed Variations sur “Folia de Espana” et Fuge.
Margarita was the last of our classical guitarists on this season’s program but Billy Novick and Guy Van Duser will end the season on an upbeat swing-jazz note you won’t want to miss. So make a calendar note for April 22 at 8:00 p.m. at WCC on the Westmoreland Circle.
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
I looked around for a second guitarist as Jorge Caballero played J.S. Bach’s Chromatic Fantasy and Fugue and I wondered how he would later bring out the orchestra in Pictures at an Exhibition. We were not disappointed.
We found out he was only eleven when he first attempted Kazuhiko Yamashita’s arrangement of Pictures and nineteen when he finally understood it enough to play and recorded it publically. Caballero intimated that the multifarious avant-garde sounds were best brought out using classical guitar techniques. Pictures at an Exhibition was a long piece that sounded very short, and he treated us to big orchestral sounds on just a six-string guitar!