West Dean Guitar Festival 2006
It was a very great pleasure to be asked to stand in for Karin Schaupp at West Dean this year. I hope that it was not too much of a disappointment for those who were looking forward to seeing her concert and classes. Indeed I was among you, having bought a ticket to her concert only days before realizing that by a quirk of fate
I had unwittingly bought a ticket to see myself!!
What a strange world!! Anyway I am indebted again to John Mills, the course director, for having asked me to take on the work. Preparing a concert in four days is no easy task and I hope that those who heard me play enjoyed the impromptu nature of the programme.
It was wonderful to be able to spend time with some of the maestros teaching on the course, including Maximo Pujol, making his first appearance in our country.
His concert was fantastic, and it was fascinating to hear Maximo interpreting his own pieces. He also gave us a lecture on the tango, illustrated with many sound clips of Julio de Caro, Carlos Gardel, and Astor Piazzolla. Interestingly he told us that his father was a tango singer, and that he had been accompanied by the only surviving guitarist from Carlos Gardel's group, José María Aguilar.
He traced the various strands which are thought to have brought about the birth of the tango: although my favouite way of expressing this was once told to me by the Argentine bandoneon player Teddy Peiro, who said:
"the tango is the son of many fathers" !!!
Maximo worked every day with an ensemble class, teaching two of his pieces for guitar ensemble. The group performed these works on the last Friday of the course, and to great applause. It was really a pleasure to see how warmly the English public responded to the maestro, whose works are very frequently played and enjoyed here by both professional and amateur players alike.
Joseph Urshalmi was a name that was new to me at the beginning of the course this year, but what a superb player and musician he is. His technique, especially in the right hand was a revelation, producing the sound in the most exquisite way. He is paticularly fond of the music of Issac Albeniz which he plays with great style. Joseph is also a specalist in technique and posture and I was delighted when he presented me with a copy of his new book
'A Conscious Approach to Guitar Technique'.
(the book is published by Chanterelle)
He also gave ensemble classes every day and people remarked on the special sound that he was able to draw from his group of players.
Catherine Liolios was also a new name to me, but what a charming lady. The concert which she gave on the Sunday was a great success, and the delicacy that she brings to her playing is a delight. It was the first time that
I was able to examine a Dominic Field guitar at close quarters, and the sound and the workmanship are of the highest order. Dominic was present at the festival for the first couple of days, and it was interesting to question him a little on his approach to guitar construction. Also present was Paul Fisher, who will shortly be celebrating fifty years of making instruments. What a nice fellow he is!!
Gerald Garcia prepared the orchestra with all his usual apolmb, and with the constant good humour for which he is noted. The performances of a work by Maximo and an arrangement of Adios Nonino by A Piazzolla were very exciting. Gerald had managed to achieve an excellent sense of unity, which is so difficult to do with this many guitarists playing together.
Andrew Gough ran the beginners classes once again, and the students really respond to his easy manner and quiet professionalism. He also gave a talk on preparing for grade examinations which was very well received.
It is always a pleasure to work alongside John Mills, truly a person of great integrity and modesty. Surprisingly he has never played at the festival, and it would be wonderful if he were able to give a concert at next year's event.
It has also been suggested (by me!) that a new CD be recorded this year, to be ready for sale at that recital. Some pieces, such as the Platero y Yo suite by Eduardo Sainz de la Maza, have become very closely associated with John, his performances becoming the definitive versions. How nice it would be to have a new recording of him playing these pieces.
Cobie was also at the festival for the first few days giving some classes, and it was a pleasure to meet her again.
I hope that you will enjoy looking at the photos of the event which was really very great fun!
I had unwittingly bought a ticket to see myself!!
What a strange world!! Anyway I am indebted again to John Mills, the course director, for having asked me to take on the work. Preparing a concert in four days is no easy task and I hope that those who heard me play enjoyed the impromptu nature of the programme.
It was wonderful to be able to spend time with some of the maestros teaching on the course, including Maximo Pujol, making his first appearance in our country.
His concert was fantastic, and it was fascinating to hear Maximo interpreting his own pieces. He also gave us a lecture on the tango, illustrated with many sound clips of Julio de Caro, Carlos Gardel, and Astor Piazzolla. Interestingly he told us that his father was a tango singer, and that he had been accompanied by the only surviving guitarist from Carlos Gardel's group, José María Aguilar.
He traced the various strands which are thought to have brought about the birth of the tango: although my favouite way of expressing this was once told to me by the Argentine bandoneon player Teddy Peiro, who said:
"the tango is the son of many fathers" !!!
Maximo worked every day with an ensemble class, teaching two of his pieces for guitar ensemble. The group performed these works on the last Friday of the course, and to great applause. It was really a pleasure to see how warmly the English public responded to the maestro, whose works are very frequently played and enjoyed here by both professional and amateur players alike.
Joseph Urshalmi was a name that was new to me at the beginning of the course this year, but what a superb player and musician he is. His technique, especially in the right hand was a revelation, producing the sound in the most exquisite way. He is paticularly fond of the music of Issac Albeniz which he plays with great style. Joseph is also a specalist in technique and posture and I was delighted when he presented me with a copy of his new book
'A Conscious Approach to Guitar Technique'.
(the book is published by Chanterelle)
He also gave ensemble classes every day and people remarked on the special sound that he was able to draw from his group of players.
Catherine Liolios was also a new name to me, but what a charming lady. The concert which she gave on the Sunday was a great success, and the delicacy that she brings to her playing is a delight. It was the first time that
I was able to examine a Dominic Field guitar at close quarters, and the sound and the workmanship are of the highest order. Dominic was present at the festival for the first couple of days, and it was interesting to question him a little on his approach to guitar construction. Also present was Paul Fisher, who will shortly be celebrating fifty years of making instruments. What a nice fellow he is!!
Gerald Garcia prepared the orchestra with all his usual apolmb, and with the constant good humour for which he is noted. The performances of a work by Maximo and an arrangement of Adios Nonino by A Piazzolla were very exciting. Gerald had managed to achieve an excellent sense of unity, which is so difficult to do with this many guitarists playing together.
Andrew Gough ran the beginners classes once again, and the students really respond to his easy manner and quiet professionalism. He also gave a talk on preparing for grade examinations which was very well received.
It is always a pleasure to work alongside John Mills, truly a person of great integrity and modesty. Surprisingly he has never played at the festival, and it would be wonderful if he were able to give a concert at next year's event.
It has also been suggested (by me!) that a new CD be recorded this year, to be ready for sale at that recital. Some pieces, such as the Platero y Yo suite by Eduardo Sainz de la Maza, have become very closely associated with John, his performances becoming the definitive versions. How nice it would be to have a new recording of him playing these pieces.
Cobie was also at the festival for the first few days giving some classes, and it was a pleasure to meet her again.
I hope that you will enjoy looking at the photos of the event which was really very great fun!
Maximo Pujol visiting my house. Yes, the fees are going up!!
Joseph Urshalmi demonstrates his wonderful playing on my 1977 Antonio Marin Montero
Catherine Liolios relaxing with her Dominic Field guitar
Andrew Gough trying out a cutaway over a glass of wine in the bar!
My ensemble class. Well done everyone, it was a pleasure working together!
A proud moment with John Mills, a dear friend
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Gerald Garcia and quartet modelling the new music stand for professionals!! Put me down for one!!