Preston Hong records music by Bach, Dyens, Regondi, Brouwer, and Piorkowski

GSI recently welcomed Preston Hong to its showroom for a recording session featuring a mixed program of Baroque and contemporary works. The selection brought together pieces that rely on clear structure and contrast in character.

As the first piece, Preston performed the Prelude and Très Vite by Johann Sebastian Bach. The Prelude is built on continuous movement with a clear harmonic path, requiring careful voicing to keep the lines distinct. The Très Vite, a faster movement, contrasts with a more active rhythmic character and lighter articulation. Preston kept both pieces controlled, with clean separation but recognizable dialogue between voices. He used a 1941 Santos Hernandez guitar for this piece.

He also played the last two movements from Roland Dyens’ Hommage à Villa-Lobos: Andantinostalgie and Tuhu. Andantinostalgie is a short, lyrical piece with a direct melodic idea supported by a dreamy (and at times ironic) accompaniment. Tuhu is based on a Brazilian-style theme by Dyens, incorporating syncopation, changes in register and a wide palette of sound effects. The title seems to be the nickname that Villa-Lobos’ mother gave to him as a kid. Preston kept the melody clear in both, while maintaining balance across the instrument. He played this set on a 2018 Michael Thames guitar.

He also included Giulio Regondi’s Air Varié de l’Opéra de Bellini. Like many 19th-century guitar works based on opera themes, the piece combines a lyrical introduction with a series of variations that explore different technical ideas. Preston balanced the lyrical expressivity and the virtuosism in the Bellini theme, playing this piece on a 1985 José Ramirez guitar.

From the 20th-century repertoire, Preston performed La Gran Sarabanda by Leo Brouwer. The piece takes its name from the traditional sarabande, with a slow triple meter and emphasis on chordal writing. It develops through harmonic shifts and very virtuosic passages. Preston Hong kept a consistent pulse and clear phrasing throughout the piece. He played this piece on a 2025 Gabriele Lodi.

He concluded with Philosopher’s Path by James Piorkowski. The piece is built on an ostinato in the lower voice dialoguing with a melody that gradually expands, creating a sense of progression over time. He maintained an even tempo and a clear sense of direction from beginning to end. Preston recorded this performance on a 2010 Manuel Contreras II.