Here is the second movement, “Reyna,” from Celil Refik Kaya’s new suite Miriam & Leon’s Daughters. In this performance, Celil is playing a fantastic 1977 Miguel Rodriguez with a Cedar top and Palo Rosa back and sides. This guitar has a very interesting story in how it came to us. When it first showed up, we noticed there was no date or signature on the label. We sent it down to the Romeros to see if they knew anything about it, and Pepe Sr. immediately recognized the guitar as one Rodriguez originally made for him which he named “La Pastosa.” Read more about this guitar’s story and learn why the label was never edited on the product page here. Meanwhile, enjoy Celil’s beautiful and energetic composition on this wonderful instrument!
Last year, we were thrilled to play a role hosting Guitar CoOp’s interview with Christopher Parkening here in the GSI showroom. This past month, all four parts of the series were released and the entire interview is now available!
Throughout the interview, Parkening touches on many fascinating subjects including his early life with the guitar, studies with Andres Segovia, recording CD’s with Columbia Records, and his experience working with legendary composers including Elmer Bernstein, John Williams, Joaquin Rodrigo, and more.
We’ve all seen at least one Celil Refik Kaya guitar demo, and David Collett here chose one of Celil’s performances as his top 5 favorite. So, make sure to catch up on all of his performances in our Santa Monica showroom with this YouTube playlist. Enjoy.
Here’s Celil Refik Kaya with the first movement of a new suite he has written entitled Miriam & Leon’s Daughters. This movement is called Loretta and Celil plays it on a gorgeous 1927 Francisco Simplicio in spruce and mahogany. In addition to being his deluxe model, with more decoration than is usual even for Simplicio, this particular guitar is fitted with a mahogany tornavoz, which is partly responsible for the incredibly rich low end on this instrument.
There’s a “spirit of openness and environmental awareness” throughout this 12th issue, to quote the editor of Orfeo, Alberto Martinez. That spirit is clear as the issue covers the process of environmentally-conscious guitar-making in Belgium, from research to physical workings of the most renowned luthiers in the country. Much of what this issue covers is not really information the public knows well, but many guitar aficionados do discuss from time to time, so we’re excited to bring to you all this particular publication. The Belgium Special features information on many innovative organizations and builders that work to make sustainable guitars, including the luthiery school of Puurs, Leonardo Guitar Research Project, Acoustics Laboratory, Le Mans University, Crelicam Project, luthier Walter Verreydt, Karel Dedain and Mark Peirelinck.
Here is a new collaboration between EliteGuitarist and GSI with a tutorial of Augustin Barrios’ Vals Op. 8 No. 3 Taso Comanescu’s note for note tutorial displays a deep understanding of the piece, provides tons of performance pointers, focuses on phrasing details and is a wealth of fingering principles. Learn to play this and many other repertoire pieces with the EliteGuitarist classical guitar repertoire tutorials at www.EliteGuitarist.com
The Arts Review publication is brought to us all by the Wilmette Arts Guild, and its aim is to “…inform, stimulate and inspire” as it does with all of its content. So, when GSI’s own President David Collett was asked to write a piece about the master-luthier and father of the modern classical guitar Antonio de Torres for Arts Review, he couldn’t resist to put his vast knowledge on the subject to work.
Here we have the classical side of Fareed Haque, this time playing the cadenza from Villa Lobos’ Concerto for Guitar and Small Orchestra – a rarely played piece in the repertoire in general and even of Villa Lobos. Fareed plays a gorgeous 1968 Ignacio Fleta in cedar and Indian rosewood.
In addition to the three prize winning guitars at this year’s Granada Guitar Building Competition, we were particularly taken by one instrument from French-Ukrainian guitar builder Youri Soroka. So much so in fact that we asked him to build a new guitar for us to share with all of you!
Youri’s backstory is almost as beautiful as the look and sound of his instruments. Here he describes how he went from a career in technology to falling in love with the craft of guitar building: