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Stay up to date with all the latest happenings in the guitar world. On this blog, you'll find information about competitions, notable awards, obituaries, job openings and placements, and more. To submit an entry for Reverberations Live, please email communications@guitarfoundation.org

 

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2017 Charlottesville Classical Guitar Festival and Competition

Posted By Administration, Tuesday, May 23, 2017
Residents of Charlottesville, a picturesque city along the foothills of the Blue Ridge Mountains and near Thomas Jefferson’s Monticello in Virginia, will have the opportunity to celebrate classical guitar music in the 1st classical guitar festival of its kind. The festival will be held on Saturday, September 9, 2017, at The Haven (112 Market Street, Charlottesville, VA 22902), from 9am to 10pm. There will be guitar recitals, workshops, a guitar competition open to juniors and adults, and a guitar orchestra. The guest artists and presenters include Matt Palmer, Rafael Scarfullery, Candice Mowbray, Zeb Turrentine, Jeremy Bass and Erica Cha. The full festival fee is just $60. This festival is organized by Rafael Scarfullery, a composer and classical guitarist who lives in Charlottesville. The guitar competition is open to any US or foreign guitarist and will have only one round with a 5-min. repertoire of your choice. You can register at the website: http://guitarcharlottesville.com.

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Guitare Montréal's 15th Anniversary

Posted By Administration, Monday, May 1, 2017
It's Our 15th Anniversary! Reserve the following dates: May 26, 27, and 28. New This Year: Buy your concert tickets online via www.eventbrite.ca! It's very easy reasonably priced. Please take note of Guitare Montréal's exciting 2017 line-up: Bokyung Byun Jérôme Ducharme Matthew McAllister Jorge Andrés Orjuela Thierry Bégin-Lamontagne Michel Beauchamp Marko Féri Dr.Éric Legault Dr.Jeffrey McFadden Let's not forget the over $5000 dollars in prizes, given away in the: MGS Youth Competition and The Montréal International Classical Guitar Competition. New This Year: Register at www.guitaremontreal.com and pay immediately via PayPal. Follow us : Web: www.guitaremontreal.com FaceBook: https://www.facebook.com/guitaremontreal2002 FaceBook: https://www.facebook.com/GuitarMontreal/ Hope to see you all in May! Patrick Kearney Founder and Artistic-Director

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Lanciano International Guitar Seminar

Posted By Administration, Wednesday, April 26, 2017
Lanciano International Guitar Seminar: July 28 - August 2, 2017 Lanciano (CH), Abruzzo, Italy The mission of the Lanciano International Guitar Seminar is to promote high-level solo and chamber music training for young guitarists, emphasizing the performance of new music for the guitar. Internationally renowned professionals from Europe and the United States will teach masterclasses for soloists and provide ensemble coaching each day during the week of the Seminar. Faculty includes Michael Newman, Laura Oltman, and Isabella Abbonizio, with guest faculty and guest lecturers to be announced. Concerts featuring all participants in solo and ensemble performances will take place at the historic Torri Montanare and other locations throughout the city. There will also be a concert in the nearby town of Salle, home of the new museum, devoted to the three-hundred- year history of manufacturing musical instrument strings in Salle. Close to Rome, the historic city of Lanciano rests amongst the beaches of the Adriatic coast near the mountain peaks of Gran Sasso, with its National Nature Reserve. Against a backdrop of nature and history, visitors enjoy unique and amazing food and wines, including the well known Montepulciano. Registration is open to both participants and auditors, and fellowships are available. Website: www.lancianoguitar.com email: lancianoguitar@gmail.com tel: +1 (646) 243- 4266

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Announcing: Volterra Project

Posted By Administration, Monday, April 24, 2017
For more information please visit: http://www.volterraguitar.org This year we also have a full scholarship for American students (deadline APRIL 28, 2017). http://www.volterraguitar.org/stuart-weber-scholarship.html

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Semi Finalists Announced for Salzburg GuitarFest

Posted By Administration, Monday, April 24, 2017
GuitarFest received 52 applications and the performance level was very high. Due to the high level and a few instances of tied point totals, the jury has chosen 18 semifinalists as opposed to the originally scheduled 15. The semifinalists of the Salzburg GuitarFest International Competition are as follows (listed in alphabetical order): Pedro Rogério Aguiar Luis Benitez Alba Utkan Aslan Martina Barlotta Ziemek Bućko Dóra Cserenyec Daniel Egielman Jesse Flowers Cristian Gramesc Stephanie Jones Kun (Alan) Liu Stefan Koim Andrés Madariaga Antero Pellikka Hoang Khang Pham Katarzyna Smolarek Pedro Villegas Zuzanna Wężyk

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Classical Guitar in Orange County - 10% Discount for GFA Members

Posted By Administration, Wednesday, April 12, 2017
Featured Artist Recital Schedule 2016-2017. Third Saturday of the month, 8PM at Chapman University, in Salmon Recital Hall or Irvine Lecture Hall, near Palm Drive & Center St. in Orange for details go to: www.ocgc.org. 10% Discount for GFA Members (Please present GFA membership card for discount). April 16 Mark del Priora. An American classical guitarist and composer. He Has performed extensively throughout the United States, Canada, South America, and Italy. Notable performances include Festivals: Stetson University Guitar, Rutgers University Summerfest, and Eastman Guitarfest. He is currently Chair of the Guitar Department at the Manhattan School of Music, on the faculty since 1989. ALSO: Members’ Showcase Recitals: May 20. The last Showcase of the season by OCGC members; contact James Chiang at www.ocgc.org to reserve a slot. Director’s Showcase Recital: June 17. The last Showcase of the season features performances by members of the OCGC’s Board of Directors. The Orange County Guitar Circle is an official 501(c)(3) non-profit organization founded in 1967 to celebrate, perform, and promote the music of the classical guitar in Southern California.

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The Unorthodox Guitar: A Guide to Alternative Performance Practice

Posted By Administration, Friday, April 7, 2017
Oxford University Press is thrilled to announce the publication of The Unorthodox Guitar: A Guide to Alternative Performance Practice, by internationally recognized composer, performer, and music scholar Mike Frengel. The Unorthodox Guitar: A Guide to Alternative Performance Practice is a comprehensive resource for experimentally minded guitarists and composers wishing to write for or perform on the instrument in new ways. The book focuses primarily on unconventional approaches to guitar performance, which include alternative tunings, extended techniques, instrumental preparations, electronic augmentations, and issues related to performing and recording with a computer. This information is intended to serve as a guide, reference, and source of inspiration for those wishing to compose and/or perform on the instrument in innovative ways. Order now and save 30%! Enter promo code AAFLYG6 at checkout on OUP.com.

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Alion Baltic International Music Festival

Posted By Administration, Wednesday, March 29, 2017
I am happy to announce that I will be a featured Concert Performer and Artist Faculty this Summer at the Alion Baltic International Music Festival in beautiful and historic Tallinn, Estonia! This festival is quickly becoming the Premiere Music Festival of Northern Europe, and features a unique blend of concerts (by some of the leading classical artists in the world), and moreover offers unparalleled opportunities for students to study with these International Virtuosi. Tuition is comprised of an admixture of Private Lessons, Masterclasses, Chamber Music Coachings, along with numerous opportunities for students to perform in recitals—including that of “sharing the stage” with one’s Artist-Teacher on occasion! In addition to classical guitar, piano, strings, all orchestral instruments, composition, voice and opera are offered as fields of study. For a detailed overview and consultation about the specifics of the classical guitar program❆ and to register to study with me, please contact via either e-mail (stanleyalexandrowicz@gmail.com), or FB Messenger, and I will be happy to respond to your inquiries. My ABIMF webpage and Artist Profile can be seen at: http://alionbalticfestival.com/alexandrowicz.html General Festival Website: http://alionbalticfestival.com Programs of Study range from 1-week, 10 Day, 2-week, and 3-week sessions. Early Registration discounts are available for a limited period of time. Set in the beautiful Baltic Region, students will additionally have performance opportunities in Finland, Latvia, Lithuania, St. Petersburg, and tourist activities ranging from historical sight-seeing to seaside, forrest, and mountain day trips and explorations! A GREAT way to spend a “Musical Summer” in Historic Northern Europe! ❆ My Guitar Study Program of private lessons, master classes, and coaching will include: ⭐︎Mechanical and Technical Aspects of Guitar Performance ⭐︎Interpretation based on Stylistic, Theoretical, and Historical Analysis ⭐︎Guitar Ergonomics ⭐︎Performance Practice (from the Renaissance through Romanticism) ⭐︎Recital Preparation and Concert Programming ⭐︎19th Century Multi-bass & Harp-Guitars ⭐︎Contemporary Music ⭐︎Voice and Guitar Repertoire PERFORMER BIOGRAPHY Classical Guitarist Stanley Alexandrowicz is internationally renowned for his thrilling virtuosity, poetic interpretations, and refined musicality. In addition to his command of the instrument’s standard repertoire, he has premiered and commissioned over 100 works by composers from Europe, Asia, the United States, Cuba, and Latin America. A scholar and specialist in the field of 19th Century music, he often features unknown compositions by the Romantic guitar composer-virtuosi, playing on period instruments and revitalizing works which have lain dormant (often in manuscript form) for over a century. He has given lecture-recitals internationally on both Romantic and Contemporary music, including the Institute for Advanced Study (Princeton – USA), the International Guitar Research Centre (University of Surrey – UK), the Baltimore Museum of Art (USA), and, the Harp-Guitar Foundation of America. In addition to his work as an international soloist, he collaborates regularly in chamber music performances with some of the world’s leading musicians ― including internationally renowned soprano Dominika Zamara ― bringing together the worlds of opera, lieder, song, and contemporary music in realizations of unmatched sonic beauty and deep musical intelligence. Their duo debut CD “Ivan Padovec: Music for Guitar and Soprano” was issued on SHEVA Collection Recordings Italy (http://www.shevacollection.it), summer, 2015. Performance highlights during recent concert seasons include London, New York, Venice, Washington D.C., Philadelphia, Boston, Baltimore, and Princeton, and include the U.S. premiere of Vácav Kučera’s Concierto Imaginativo-Homenaje a Salvador Dali for guitar and string orchestra (Baltimore) in honor of the composer’s 80th birthday year. Dr. Alexandrowicz is currently Artistic Director of the New York Classical Music Society (NYCMS), and Artist-Professor at the Alion Baltic International Music Festival & Academy. He has served as Professor of Guitar at The College of New Jersey (TCNJ), Director of the Bronx House Music School (New York), and has been on the faculty of Mercy College, New York (where he additionally taught music history, theory, form and analysis, and ear-training skills). A world- renowned pedagogue and “master teacher” he is an expert on guitar ergonomics. Dr. Stanley Alexandrowicz (D.M.A. Manhattan School of Music)

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The Guitar Down Under

Posted By Administration, Tuesday, March 7, 2017
The Melbourne Conservatorium of Music, University of Melbourne, organized a three-day conference, December 9–11, 2016, under the title “Instrument of Change: The International Rise of the Guitar (c.1870–1945).” With speakers and attendants from all over the world, this was a magnificent get-together for sharing guitar research results. The event was organized by Michael Christoforidis and Liz Kertesz. Michael opened the sessions with his “Estudiantinas and the Plucked String Explosion in the 1870s” about groups of serenading musicians around a core of plucked instruments who traveled Spain and the world. There were two gender related presentations, one by Hannah Lindmaier from Vienna: “‘Female’ or ‘Male’?—Guitar and Gender at the Turn of the 20th Century”; the other by Kate Lewis from Guildford, United Kingdom: “She Made That Guitar Talk: Pioneering Female Lead Guitar Players and Their Influence on the Development of American Popular Music,” which gave historic details with pictures, sound, and scores from guitar heroines Maybelle Carter, Memphis Minnie, and Sister Rosetta Tharpe. Ken Murray from the University of Melbourne gave a fine presentation on “Percy Grainger: The Accidental Guitarist,” the Australian composer who had highly original ideas about the guitar and its tunings. The building next door housed an exposition of instruments and other paraphernalia from Grainger’s life and work. Photo caption: Gibson harp guitar at the Grainger exposition. After a most interesting “Segovia and the Russians” by Matanya Ophee, there followed two presentations titled “The changing Zeitgeist in Classical Guitar Repertoire: Andrés Segovia’s Reception in New York, 1928–1940” and “Andrés Segovia and Mario Castelnuovo-Tedesco: 1939.” Unfortunately, neither of these latter two lectures presented anything we did not already know. Roxy DePue (University of California, Riverside) lectured on the challenges that freelance guitarists encountered in Hollywood, and John Whiteoak from Melbourne’s Monash University surveyed how the guitar was introduced to Australia. There were three lectures under the heading “The Classical Guitar in the English-Speaking World.” Brazilian guitarist-composer Diogo Carvalho summarized how and why the banjo and mandolin jeopardized the future of the guitar. Jonathan Paget lectured on Ernest Shand, who spent more than half a year in Australia, where he both acted and performed on the guitar. Jan de Kloe finished this chapter with the life and works of Boris Perott, the first teacher of Julian Bream. Under the rubric “New Repertories” we heard Ari van Vliet of the Netherlands speak on the “Shifting Style from Romanticism through Nationalism towards Expressionism.” Then Maurice Carrasco (University of Melbourne) gave many examples from Castelnuovo-Tedesco’s Platero y yo that are unplayable as published and suggested performance solutions. Leilani Dade from the University of California Riverside expounded on Spanish nationalism in the works of Joaquín Turina, who was urged by Albéniz to pursue this element in his music, the latter feeling that Turina was too much under the influence of French big-name composers. The next chapter, chaired by Melanie Plesch, contained two lectures on Argentine visions of the guitar. The first discussed Atahualpa Yupanqui, accompanied with very nice music examples supported by good photographs. This was presented by Julius Carlson of Mount St. Mary’s University at Los Angeles. It was followed by “The Fall of the Tango Guitar and the Rise of the Middle-Class Tangueros,” given by Eric Johns (University of California Riverside). By analyzing the visual and audible representation of the tango in 1930s Argentine movies, Johns demonstrated that the guitar had become a signifier of lower-class society. Two important keynote addresses were then presented by major speakers in our field. Melanie Plesch (Melbourne University) offered “Nationalism, Internationalism and Other Dichotomies in the History of the Guitar in Argentina” while Walter Aaron Clark (University of California Riverside) gave us “Going Cucú for Aranjuez: Sources of Musical Inspiration and Influence in Joaquín Rodrigo’s Most Famous Work.” The cuckoo here refers to the sound Rodrigo imitated of the bird he so often heard when walking through the forests near Freiburg im Breisgau, Germany, where he spent quite some time during the Spanish Civil War. Three presentations constituted the chapter “The Guitar in Interwar Spanish Nationalism.” The title of the first presentation was intriguing: “Domenico Scarlatti and the Spanish guitar, c.1920–40.” Luisa Morales (University of Melbourne) showed the impact of the Scarlatti sonatas and neo-Scarlatti compositions on the generation of Spanish guitarists such as Ángel Barrios. From the same university was Alexandra Velasco-Svoboda with “The Influence of Neoclassicism in Selected Guitar Works by Joaquín Rodrigo,” where she showed how a generation of composers was inspired to use the guitar in their neoclassical compositions removed of Andalusian cliché. In “Historical Performance Practice of Spanish Modernism: An Approach to the Performer Regino Sáinz de la Maza,” Yiannis Efstatopoulos from the Vrije Universiteit, Brussels, focused on the difference in playing technique between gut and silk-coated bass strings as compared to the strings we use today, but went beyond that as he analyzed the response and artistic insights of performing on original guitars by Santos Hernández, the approach to Tárrega’s technique, and sources addressing Regino as a performer. Sunday rounded off the conference with three lectures hard to categorize under one heading. Erie Setiawan from Yogyakarta, Indonesia, showed that the instrumentation in the kroncong ensembles is derived from 16th-century Portuguese plucked instruments. Gerard Mapstone and Stathis Gauntlett, both from the University of Melbourne, focused on flamenco and the rebetiki kithara. Because there was no audio example, I did not have the faintest what the latter was about. Arriving home, I went on YouTube for an example, and I suggest interested readers do the same. In addition to the “Instrument of Change” lectures, Friday and Saturday evenings featured live classical and popular Brazilian music by Doug de Vries, Adam May, Ken Murray, Alexandra Velasco-Svoboda, Matthew Hood, and Jimmy O’Hare. –Jan de Kloe

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Wilson Center Guitar Festival

Posted By Administration, Tuesday, March 7, 2017
Now in its fifth year, the Wilson Center Guitar Festival is the only guitar competition and festival in the world to feature four different genres—Rock/Blues, Jazz, Classical, and Fingerstyle—with simultaneous live semi-final and final competition rounds, world-class headliners, master classes, and guitar industry exhibits. First-prize winners in all four genres will receive $5,000, plus a chance to open for Kevin Eubanks on Saturday evening August 19, 2017; second-prize winners in all four genres will receive $2,000; and third-prize winners in all four genres will receive $1,000. August 17-19, 2017 in Brookfield, WI (near Milwaukee). Applications are open until May 31, 2017. Please share this information with your students and colleagues. The website is here: www.wilson-center.com/guitar-competition-festival Headliners: Beijing Guitar Duo Thursday, August 17, 2017 • 7:30 PM Antoine Dufour • Gareth Pearson • Mike Dawes Candyrat Records Fingerstyle Friday Friday, August 18, 2017 • 7:30 PM Kevin Eubanks Saturday, August 19, 2017 • 7:30 PM

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