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Posted August 21, 2015
Update: More is being revealed about this interesting new guitar project, including the nature of their multimedia platform, recordings including both new releases and historical re-releases, books, website, sheet music, videos, apps and more. In addition to the artists already mentioned previously, others signed up to participate in the project include Fabio Zanon and the Duo Siqueira Lima. See here for Jorge Caballero’s release.
“A Dream Comes True” by Finn Wandahl
It was in the summer of 1972. I was a young, promising guitarist at 17 years of age who had just passed the entrance examination for the Royal Danish Conservatory of Music and was now spending the summer in Nice where French guitar virtuoso Alexandre Lagoya had been offering masterclasses every summer. I had not yet fully developed my technique and thus got to play for Lagoya only once. However, I did attend his master class lectures and was even taught by his assistant, a young French guitarist named Yves Chatelain. The lessons were held outdoors, in a wonderfully lush cloister garden porticoed on all sides. It was in these beautiful surroundings, where the lifelong dream of a guitar came to my young mind. Continue Reading
Adam Levin has been praised by renowned American guitarist, Eliot Fisk, as a “virtuoso guitarist and a true 21st century renaissance man with the élan, intelligence, charm, tenacity and conviction to change the world.” Levin has performed across the United States and Europe at renowned venues such as Chicago’s Pick Staiger, James Lumber Performing Arts and Mayne Stage concert halls, Boston’s Isabella Stewart Gardner Museum, Museum of Fine Arts, and Jordan Hall, the Palazzo Chigi Saracini in Italy, Berlin’s Universität für Musik und darstellende Künst, Barcelona’s Auditorio Axa, and in Madrid at the Fundación Juan March, Palacio de Godoy, BBVA Palacio del Marqués de Salamanca, and Sala Manuel de Falla. Levin has appeared on a variety of prestigious music series, including Madrid’s Sociedad Española de Guitarra, Conciertos en Palacios and Festival Clásicos en Verano, Valencia’s Amigos de la Guitarra, Boston GuitarFest, L’Accademia Musicale Chigiana in Siena, Italy, and Festival Pro Música e Cultura in St. Moritz, France.
San Francisco Performances in cooperation with The Omni Foundation of the Performing Arts, The Sacramento Guitar Society and the South Bay Guitar Society
Present “The King of the American Classical Guitar”
April 10, 11 and 12, 2015
All Concerts include the music of Albeniz, Granados, Bach, Scarlatti and the Ein Kleines Requiem composed for Eliot by Austrian Composer, Kurt Schwertsik.
April 10, 2015 at 7:30pm
South Bay Guitar Society
Le Petit Trianon
72 N. Fifth Street
San Jose, CA 95112
April 11, 2015 at 7:30pm
San Francisco Performances and Omni Foundation for the Performing Arts
St. Mark’s Lutheran Church
1111 O’Farrell St.
San Francisco, CA 94109
April 12, 2015 at 3pm
Sacramento Guitar Society
First United Methodist Church
2100 J Street
Sacramento, CA 95816
Boston GuitarFest’s Youth Guitar Workshop
Today I’d like to share a recent newsletter story from Boston, because I think it’s inspiring on a number of levels. I interviewed several remarkable individuals who just added a youth workshop component to a well known festival, and I thought their story would be of interest.
Before I share the interview, though, I’d like to provide a bit of context about the Austin Classical Guitar Society, its education program and its curriculum project, because the interview will make more sense that way!
Things are moving quickly these days at the Austin Classical Guitar Society’s Education program. We’ll be providing service in over 30 Austin schools this coming year, the most ever! Most of our local service is in AISD middle and high schools, but we also have thriving programs at the Texas School for the Blind and Visually Impaired and Gardner Betts of the Travis County Juvenile Justice System (a full lock-down juvenile correctional facility). In fact, there was an amazing radio story on the Gardner Betts program that I strongly encourage you to listen to if you haven’t heard it already, it will brighten your day!
The main part of the story to know is that back in 2004, about three years after we got involved in education, we realized a great need to develop a full-scale curriculum for classroom guitar teaching. By 2008 we had done it, and it was launched online at GuitarCurriculum.com! GuitarCurriculum.com has since flourished. It not only supports all of our efforts here, but also has its own newsletter, and users all around the world. We have a whole team of educators working every day right now to build it, and enhance it.
It’s in that context that I wanted to share this past week’s GuitarCurriculum.com newsletter describing a recent youth festival in Boston. I hope you enjoy it!
Marcelo Kayath has had a pretty interesting career – In 1984 he won both the Toronto International Guitar Competition and the Paris Councours International De Guitare, and toured for the ensuing year. He was acknowledged as one of the finest classical guitarists of his generation, and yet he managed to get a degree in engineering in 1986. In 1988 he decided to try something new and used his engineering degree to get a job with a mining company, where he worked for four years, during which time he managed to record two albums. In 1992 he went to Stanford to get his MBA and after graduating became an investment banker, eventually becoming co-CEO of Credit Suisse Investment Banking in Brazil, a $1 billion business. Click here to find out more and see videos of Marcelo.
Last year I wrote a bit about what a snob I am when it comes to pickups for my guitars in my review of the Kremona pickup, and I’m still pretty much as snobby as ever. But I’m also an optimist (I guess) and every year or two I ask around and see if anything new has come along that might make me consider plugging in, if only for rehearsals and such. After all, I love the sound of my guitars, and not the sound of pickups. But I’m always mic’ed when I play live, so to that extent it’s never the actual sound of my guitar in a room that I’m hearing, and I should probably admit that it’s the extent of the compromise that has always bothered me with pickups. Read the review…