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Here’s a very rare treat – Scott Tennant and Marcelo Kayath playing ‘Divertimento’, the only guitar duo written by Andrés Segovia. The piece has not been widely performed, although the Abreu brothers recorded it in 1968 for their album “The Guitars of Sergio and Eduardo Abreu” from 1968 and one can find a few videos on YouTube these days.
GSI recently provided Segovia’s 1969 Jose Ramirez guitar, which the maestro played from1969 until 1980, to Scott Tennant for his Guitar CoOp recording of Segovia’s compositions. Kayath is the founder of Guitar CoOp in addition to having been one of the great guitarists of his generation (along with Tennant et al). So it just made sense to have the two of them take advantage of the circumstances and record Segovia’s only guitar duet together. Tennant plays the 1969 Ramirez and Kayath plays a gorgeous 1966 David Rubio.
Marcelo Kayath was a rising star in the classical guitar world in the 1980’s. In 1984 he won first prize in the two biggest guitar competitions in the same year: the 4th Toronto International Guitar Competition and the XXVI Paris Councours International de Guitare. In the following year he embarked on tours of Europe and the USA to unanimous critical acclaim, and he recorded many CDs for several labels, including Hyperion, MCA Classics and Pickwick. Kayath retired from the guitar in the early 1990’s and pursued a completely different career as a banker. Now he is back with his first recording in 25 years and proves that he is still a force to be reckoned with.
The new CD, Suites & Sonatas, is published by Guitar CoOp, which Kayath helped found, and features suites by Bach and Weiss and Sonatas by Sor and Castelnuovo-Tedesco. Check out the video below for a sample of Kayath playing Bach.
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.
Here’s an article written by Marcelo Kayath, who in the early 80’s was considered one of the great up-and-coming guitarists of his generation (see his bio below). I find his thoughts on the current state of the guitar really interesting, but I have a feeling that not everyone will agree with him. I’m very curious to see what everyone has to say.
Our good friend Marcelo Kayath of Guitar CoOp just published an interview he conducted with maestro Pepe Romero at the Koblenz Guitar Festival last year. Marcelo is a great interviewer due to his insider/outsider status (he is recognized as having been one of the great guitarists of his generation but has not really been a part of the scene for the last 30 years) and always brings out the best in his subjects. In Part one of the interview they discuss Pepe’s early years studying with his father and how his lifelong love of flamenco began.
Here’s the final installment of the Guitar CoOp John Williams interview. This is a landmark, in-depth interview with one of the very best classical guitarists of the last century and this one, conducted by interviewers who are themselves accomplished guitarists. In part 1 Marcelo Kayath of Guitar CoOp (which produced the video) and guitarist/composer Stephen Goss of the Royal Academy of Music discuss Williams’ early development as a guitarist and in particular Len Williams’ (his father) teaching style and philosophy. They discuss Williams’ early years and his great friendship with the recently deceased Alirio Diaz, and they conclude with a very interesting discussion of technique and of improvisation. In part 2 they discuss pop music, composition, repertoire, the 1960’s and more, and in part 3, titled ‘The Composers’ they discuss Baroque music, 19th Century composers, collaborations and more. In this fourth and final part they discuss practicing technique, life-long repertoire, relaxed playing and the guitars themselves.
Glauber Rocha is considered one of the great names among Brazilian guitarists. He began taking music lessons at the piano at the age of five. He moved on to the guitar when he had just turned 12, and studied with Prof. Aparecido Dias dos Santos. At 15, he met and had a short period of classes with the Brazilian composer and guitarist Mauricio Orosco.
As a solo performer and chamber musician, he has performed in major halls in and outside the country, such as Kleiner-Konzertsaal Gasteig, Black Box and Carl-Orff-Saal Gasteig in Munich, Konzertsaal Cervantes in Munich, Casa Verdi in Milan Italy, Conservatory of Coimbra in Portugal, MASP (Art Museum of Sao Paulo), Ipiranga Hall Museum, Rondon Pacheco Theater in Uberlândia, Municipal Theater of Poços de Caldas, Asunción National Theatre in Paraguay, Municipal Theater in Presidente Prudente, CCSP Jardel Filho in Sao Paulo, among others in Costa Rica, Portugal, Germany, Italy, Spain, Paraguay and Brazil.
Andrea Tacchi was born in Florence, Italy in 1956 into a deeply-rooted Florentine family with a rich artisan heritage in both jewelry-making and wood-working. At a young age, he took interest in creating musical instruments, building his first guitar at age 15. While at university studying mechanical engineering, he met and began an apprenticeship with Argentinian luthier Ricardo Brané, ultimately leaving university to pursue a career as a professional luthier. After Brané’s death, Tacchi traveled extensively to Spain, England, France, and the United States to study with the top masters of the day; in 1981 he went to Spain to meet with Paulino Bernabe Sr., José Ramírez III and Francisco & Gabriel Fleta to get their critical opinions and advice on his development as a guitar maker. He also traveled twice to England to consult with José Romanillos. The most important of these meetings however took place over several trips throughout the 1980s to France where he was able to receive advice and encouragement from both Robert Bouchet and Daniel Friederich in their workshops. To read more about Tacchi’s experiences in Paris click here.
When Scott Tennant came by to play some of the Cleveland Collection guitars late last year he more or less fell in love with the 1969 Ramirez that Segovia had owned and played from 1969 to 1980. When he told us he was about to record a CD of Segovia’s compositions we all had a Eureka moment and realized he had to record the CD using this guitar. The CD will be produced by the Guitar CoOp in Brazil (which is headed by our friend Marcelo Kayath) but we will record it here in Santa Monica.