Edinburgh Fringe Programme 2017
Gavottes 1 & 2 from Lute Suite BWV 995 - J.S. Bach
Milonga- Jorge Cardoso
Elogio de la Danza- Leo Brouwer
Suite del Recuerdo- Jose Luis Merlin:-
- Evocacion (rhythms from all over Argentina- echoed again at 5.)
- Zamba (A traditional rhythm from north-west Argentina) - Chacarera (a rhythm originating in the region of Argentina called Santiago del Estero)
- Carnavalito (a festival dance from north-west Argentina) - - Evocacion
- Joropo (based on a Venezuelan rhythm)
Sergei Rudnev | Two Guitars
(trad arr.)
J.S. Bach | Chaconne
Isaac Albeniz | Sevilla
Peter Maxwell Davies | Farewell to Stromness
Mikis Theodorakis | Vrajo Vrajo & Marina
Yuquijiro Yocoh | Variations on SakuraCarlos Gardell | Por Una Cabeza
Programme for The Merchant's House, Marlborough [10/09/2015] and Otley Playhouse [23/10/2015]
First Half
Turlough O’Carolan - Planxty: Colonel Irwin | Planxty: Fanny Power
J.S. Bach - Prelude | Allegro | Fugue
Augustin Barrios - La Catedral
Mikis Theodorakis - Vraho vraho | Marina | Eimaste Dio
Second Half
Antonio Lauro – Tryptico:-
Part 1 Armida (The name of Lauro’s God-daughter)| Part 2 Madrugada (the time just before dawn)| Part 3 La Negra (Woman with black hair). Lauro dedicated these three pieces to Andrés Segovia.
Nikita Koshkin - Usher Waltz
In The Fall of the House of Usher by Edgar Allen Poe, the narrator listens … ‘as if in a dream, to the wild improvisations of his speaking guitar…’ as his friend insanely plays. Koshkin almost viscerally depicts the story’s gradually escalating horror. A divine waltz is hi-jacked by the mounting ghastliness of the narrative. This incredible composition allows the guitar to express sounds ranging from explosive to ghostly, and moods that swing from lyrical to despairing. It is eloquent; as if the instrument is indeed a voice, telling a story.
Agustin Barrios – Caazapa
Caazapa in Paraguay with its orange and mandarin groves is a region well known for its forested mountains. The guitarist Felipe Sosa comes from Caazapa. He taught another amazing Paraguayan guitarist, Berta Rojas. Barrios, Paraguay’s most famous guitarist, achieves a poetic evocation in this piece which can be expressed in many different ways making it popular with guitarists who love playing it for its lyrical delicacy and bracing élan.
Jose Luis Merlin – Suite del Recuerdo
- Evocacion (rhythms from all over Argentina- echoed again later in the Suite)
- Zamba (A traditional rhythm from north-west Argentina)
- Chacarera (a rhythm originating in the region of Argentina called Santiago del Estero)
- Carnavalito (a festival dance from north-west Argentina)
- Evocacion
- Joropo (based on a Venezuelan rhythm).
Programme for Edinburgh fringe 2015 :
Turlough O’Carolan - Planxty: Colonel Irwin | Planxty: Fanny Power
J.S. Bach - Fugue and Allegro (from Prelude, Fugue and Allegro BWV 998)
Augustin Barrios - La Catedral
Nikita Koshkin - Usher Waltz
In The Fall of the House of Usher by Edgar Allen Poe, the narrator listens … ‘as if in a dream, to the wild improvisations of his speaking guitar…’ as his friend insanely plays. Koshkin almost viscerally depicts the story’s gradually escalating horror. A divine waltz is hi-jacked by the mounting ghastliness of the narrative. This incredible composition allows the guitar to express sounds ranging from explosive to ghostly, and moods that swing from lyrical to despairing. It is eloquent; as if the instrument is indeed a voice, telling a story.
Jose Luis Merlin – Suite del Recuerdo:-
- Evocacion (rhythms from all over Argentina- echoed again later in the Suite)
- Zamba (A traditional rhythm from north-west Argentina)
- Chacarera (a rhythm originating in the region of Argentina called Santiago del Estero)
- Carnavalito (a festival dance from north-west Argentina)
- Evocacion
- Joropo (based on a Venezuelan rhythm)
Programme
Bush and Berry Studio | Farleigh Church | Bristol
Turlough O’Carolan: Planxty Colonel Irwin | Planxty: Fanny PowerJ.S. Bach: Prelude | Allegro | Fugue
Nikita Koshkin - Usher Waltz
In The Fall of the House of Usher by Edgar Allen Poe, the narrator listens … ‘as if in a dream, to the wild improvisations of his speaking guitar…’ as his friend insanely plays. Koshkin almost viscerally depicts the story’s gradually escalating horror. A divine waltz is hi-jacked by the mounting ghastliness of the narrative. This incredible composition allows the guitar to express sounds ranging from explosive to ghostly, and moods that swing from lyrical to despairing. It is eloquent; as if the instrument is indeed a voice, telling a story.
Now we leave Europe for South America…
Agustin Barrios: Caazapa
Caazapa in Paraguay with its orange and mandarin groves is a region well known for its forested mountains. The guitarist Felipe Sosa comes from Caazapa. He taught another amazing Paraguayan guitarist, Berta Rojas. Barrios, Paraguay’s most famous guitarist, achieves a poetic evocation in this piece which can be expressed in many different ways making it popular with guitarists who love playing it for its lyrical delicacy and bracing élan.
Second Half
Augustin Barrios: La Catedral
Antonio Lauro: Tryptico Part 1 Armida (The name of Lauro’s God-daughter) | Part 2 Madrugada (the time just before dawn) | Part 3 La Negra (Woman with black hair). Lauro dedicated these three pieces to Andrés Segovia
Jose Luis Merlin: Suite del Recuerdo: Evocacion (rhythms from all over Argentina- echoed again later in the Suite) | Zamba (A traditional rhythm from north-west Argentina) | Chacarera (a rhythm originating in the region of Argentina called Santiago del Estero) | Carnavalito (a festival dance from north-west Argentina) | Evocacion | Joropo (based on a Venezuelan rhythm) “Once, at a concert I gave in support of the Mothers of the Playa de Mayo, to commemorate The Disappeared, a woman came up to me afterwards and gave me a note which said: ‘Memories are just as you describe; nostalgic, stormy, joyful, playful, triumphant, Yours, Lola’. This piece of music pays tribute to our collective memory of the grandparents, uncles, parents, siblings, cousins who once shared with us the courtyards beneath the vines and the emotions of the guitar playing in the evenings. Many of them are gone. They exist only in our memories.” (Jose Luis Merlin)
Vincent Lindsey-Clark: Pulsar
This is my 2013 Edinburgh Programme - complete with my programme notes (It is also the programme for the Adelaide Fringe gigs )
Originally written for piano,
this piece suits the guitar well. Its plaintive bluesy notes convey the gentle
mood Gershwin had in mind when he said after completing it: ‘I wanted to evoke
the contentment that hearing the Blues gives me.’ Gershwin planned to write 24
of these Preludes for piano. He began
work. Then he decided to write twelve instead. This later reduced to six. In the
end he completed three!
Vincent Lindsay-Clark – Salsa Roja
Renowned guitarist and composer, Vincent Lindsay-Clark is based in Hampshire. This wonderful recent composition is the third movement of a Suite entitled Fiesta Americana, which was commissioned from Vincent by world famous Paraguayan guitarist, Berta Rojas, who gave it its world premiere earlier this year. This movement references the salsa, but adds a quizzical, investigatory spirit of exploration, turning it inside out and giving it a very British shake. The result is an invigorating, witty partnership between the Latin and the English characters, which is full of surprises.
Programme for Jonathan Prag Classical Guitar at All Saints Church, King’s Lynn 21/7/13
George Gershwin – Prelude (Arr. Ken-Ichi Ebe)
J.S. Bach – Cello Suite No. 1 (Arr. John Duarte)
G. Rodriguez – La Cumparsita (Arr. G. Spolding)
Vincent Lindsay-Clark – Salsa Roja
Sergei Rudnev – Lipa Vekovaya
INTERVAL (20 minutes).
Isaac Albeniz – Asturias
Neil Smith – Niell Gow’s Shadow
Matthew Sear – America
Antonio Lauro – Triptico
Erik Satie – Gnossiene
Villa Lobos Prelude No. 1
B. Bartok Romanian Dances
Programme - Edinburgh Fringe 2011 at C too (church)
Leo Brouwer - Un Dia de Noviembre
G. F. Handel - Overture and Allemande from Suite in E minor
F. Tarrega - Capricho Arabe
A. Barrios - Waltz; Opus 8 No. 4
Trad. (Words by Duncan Ban MacIntyre) - Maire Bhan Og
Belle Stewart(Arr. John Feeley) - The Berry Fields O’ Blair
Lluis Llach - L’Estaca
G.Jouannest; arr. Dyens (words J. Brel) -Chanson des Vieux Amants
Paco Pe ňa - El Nuevo Dia
Edinburgh 2010 at St Cuthbert's Church
Jonathan
Prag Classical Guitar - C Too, Venue
4, St Columba’s by the Castle Edinburgh Fringe 2014
Programme
Steve Marsh - Three Traditional Irish songs arranged for classical
guitar: The Spanish Lady, Will
You Go, Lassie, Go, Come back Paddy Reilly
Guitarist and composer Steve Marsh started
out as a folk guitarist – inspired by the songs of Bob Dylan. And while
following a busy career in that field he also, among other things, founded
Lathkill Music Publishers, began tutoring at prestigious UK guitar festivals,
has had his compositions played by world famous guitarists like Eleftheria
Kotzia, runs a guitar studio in Derbyshire, and has worked with legends like
Gordon Giltrap, folk singer Judy Dunlop, and Ashley Hutchings; founder of
Fairport Convention, Steeleye Span and The Albion Band.
J.S. Bach – Prelude, Lute Suite (BWV 995)
Bach is the reason I play the guitar; the reason I love music so much. I heard a recording of Segovia playing the Bach Chaconne long ago and that was it. I was hooked. It seems to me that his heart and soul is in every piece of music he wrote and therefore I think that maybe part of all our hearts and souls are also in that music. Funnily enough, on Steve Marsh’s website, it says his ‘…interest in the Classical Guitar came after hearing a recording of the music of J. S. Bach played by the great Spanish maestro, Andres Segovia…’
Bach is the reason I play the guitar; the reason I love music so much. I heard a recording of Segovia playing the Bach Chaconne long ago and that was it. I was hooked. It seems to me that his heart and soul is in every piece of music he wrote and therefore I think that maybe part of all our hearts and souls are also in that music. Funnily enough, on Steve Marsh’s website, it says his ‘…interest in the Classical Guitar came after hearing a recording of the music of J. S. Bach played by the great Spanish maestro, Andres Segovia…’
Sindo Garay – Two Cuban boleros: La Bayamesa, La TardeAntonio Gumersindo Garay y García died in 1968 aged 101. In childhood
a gifted pupil of José Sánchez, he learned Trova, Cuba’s traditional song form.
His prowess as a swimmer meant he once swam across the bay of Santiago de Cuba
with information for Cuban insurrection troops planning independence from Spain.
He became an acrobat and trapeze artist in a circus touring to Haiti and the
Dominican Republic where he married, had five children and began an active
music career. Aged 33 he returned to Cuba, still working with the circus, still
singing and composing. To qualify as a trovador, you must a) sing songs you
composed yourself b) accompany yourself on the guitar and c) deal with the song
in a poetic way. La Bayamesa has a
sombre context of sacrifices made in the Cuban insurrection of the 1890s and
the women of Bayama who, when their men were killed, burned their city down:
‘…But if she hears her homeland's cry,’ says the song, ‘…she drops everything,
she burns everything…’
Nikita Koshkin - Usher Waltz
In, The Fall of the House of Usher, Edgar Allen Poe’s main character says, at one point, ‘… I listened, as if in a dream, to the wild improvisations of his speaking guitar…’ Koshkin packs a visceral dramatic punch here as the divine waltz is hi-jacked by the mounting ghastliness of the narrative. This incredible composition allows the guitar to express a range of sounds (explosive to ghostly) and moods (lyrical to despairing) that are so eloquent that it is as if the instrument is indeed a voice - telling a story.
In, The Fall of the House of Usher, Edgar Allen Poe’s main character says, at one point, ‘… I listened, as if in a dream, to the wild improvisations of his speaking guitar…’ Koshkin packs a visceral dramatic punch here as the divine waltz is hi-jacked by the mounting ghastliness of the narrative. This incredible composition allows the guitar to express a range of sounds (explosive to ghostly) and moods (lyrical to despairing) that are so eloquent that it is as if the instrument is indeed a voice - telling a story.
Matthew Sear – America 3 Movements
‘I began to think of all the things that made the positive America,’ says Matthew Sear, on what motivated him to write this stunning piece. Matthew is another British guitarist and composer, this time hailing from Kent. This is an exuberant piece and I play three of its movements: 1. Fanfare, 2. Scherzo and 3. Freeway. It is full of recognisable sounds and motifs – the jangle of New York, the plangent Blues of the Deep South, Keystone Cops, Mexico and even traffic with horns beeping. It overflows with beautiful lively music and surprising changes of pace and it is a delight to play.
‘I began to think of all the things that made the positive America,’ says Matthew Sear, on what motivated him to write this stunning piece. Matthew is another British guitarist and composer, this time hailing from Kent. This is an exuberant piece and I play three of its movements: 1. Fanfare, 2. Scherzo and 3. Freeway. It is full of recognisable sounds and motifs – the jangle of New York, the plangent Blues of the Deep South, Keystone Cops, Mexico and even traffic with horns beeping. It overflows with beautiful lively music and surprising changes of pace and it is a delight to play.
Agustin Barrios – Caazapa
Caazapa is a region of Paraguay well known for its orange and mandarin trees and areas of forested mountains. The guitarist Felipe Sosa comes from Caazapa. If I might be permitted to play ‘6 degrees of classical guitar Kevin Bacon’, I feel as if I have two links with Felipe Sosa. Firstly we both admire the great Agustin Barrios. Secondly, he taught the amazing Paraguayan guitarist Berta Rojas – and Berta Rojas commissioned Vincent Lindsey-Clark to write Fiesta Americana, part of which I included in my programme last year. The beautiful poetry of this piece can be expressed in many different ways by the many different guitarists who love playing it for its lyrical delicacy and bracing élan.
Caazapa is a region of Paraguay well known for its orange and mandarin trees and areas of forested mountains. The guitarist Felipe Sosa comes from Caazapa. If I might be permitted to play ‘6 degrees of classical guitar Kevin Bacon’, I feel as if I have two links with Felipe Sosa. Firstly we both admire the great Agustin Barrios. Secondly, he taught the amazing Paraguayan guitarist Berta Rojas – and Berta Rojas commissioned Vincent Lindsey-Clark to write Fiesta Americana, part of which I included in my programme last year. The beautiful poetry of this piece can be expressed in many different ways by the many different guitarists who love playing it for its lyrical delicacy and bracing élan.
Vincent Lindsey-Clark – Pulsar
Distinguished UK guitarist and composer, Vincent Lindsey-Clark has performed at the Wigmore Hall, The South Bank, the Barbican, The Royal Opera House Covent Garden and venues all over the world. His compositions for professionals are performed by players such as Craig Ogden, Berta Rojas, Amanda Cook and David Russell. Pulsar errupts with energy; blasting us into space where the cosmos streams by, in effervescent displays of galactic magnificence. But we are visiting a pulsar – a neutron star and as we come within range we see its strangeness; like a mystery lighthouse in the darkness of deep space, its radiation only discernible when it is facing us. But look; it rotates… the signal becomes erratic… it is fading… and then we lose it completely. Everything goes dark.
Distinguished UK guitarist and composer, Vincent Lindsey-Clark has performed at the Wigmore Hall, The South Bank, the Barbican, The Royal Opera House Covent Garden and venues all over the world. His compositions for professionals are performed by players such as Craig Ogden, Berta Rojas, Amanda Cook and David Russell. Pulsar errupts with energy; blasting us into space where the cosmos streams by, in effervescent displays of galactic magnificence. But we are visiting a pulsar – a neutron star and as we come within range we see its strangeness; like a mystery lighthouse in the darkness of deep space, its radiation only discernible when it is facing us. But look; it rotates… the signal becomes erratic… it is fading… and then we lose it completely. Everything goes dark.
This is my 2013 Edinburgh Programme - complete with my programme notes (It is also the programme for the Adelaide Fringe gigs )
George Gershwin – Prelude (Arr. Ken-Ichi Ebe)
Originally written for piano,
this piece suits the guitar well. Its plaintive bluesy notes convey the gentle
mood Gershwin had in mind when he said after completing it: ‘I wanted to evoke
the contentment that hearing the Blues gives me.’ Gershwin planned to write 24
of these Preludes for piano. He began
work. Then he decided to write twelve instead. This later reduced to six. In the
end he completed three!
J.S. Bach – Prelude
- Cello Suite No. 1 (Arr. John
Duarte)
Bach did manage to complete 24 preludes – indeed, he completed twice
that many. This cello suite with its lyrical haunting prelude is very
beautiful. Renowned guitarist and composer, Vincent Lindsay-Clark is based in Hampshire. This wonderful recent composition is the third movement of a Suite entitled Fiesta Americana, which was commissioned from Vincent by world famous Paraguayan guitarist, Berta Rojas, who gave it its world premiere earlier this year. This movement references the salsa, but adds a quizzical, investigatory spirit of exploration, turning it inside out and giving it a very British shake. The result is an invigorating, witty partnership between the Latin and the English characters, which is full of surprises.
Neil Smith – Niel Gow’s Shadow
Here the composer has combined
traditional Scottish songs into an arrangement and used a piece by the
legendary fiddler Niel Gow as an introduction
to them. I have arranged it so that the final piece leads back into a reprise
of the introduction.
Sergei Rudnev – Lipa Vekovaya
The title means ‘The Old Lime
Tree’ and this is a variation on a famous Russian folk song. The original, when
sung in the characteristic Russian style, is a visceral lament evoking aching
loss, time passing and mortality. Rudnev has given it a modern treatment, and
while it still has echoes of the sadness of past hardship, there is also a
hopeful progression in the rolling chord sequences towards the end of the
piece. The literal echo which follows, achieved by brushing the strings so that
only a whisper of sound is produced, sees the sorrow fading and the piece ends
gently on a hopeful note.
Matthew Sear – America
‘I began to think of all the
things that made the positive
America,’ says Matthew Sear, on what motivated him to write this stunning
piece. Matthew is another wonderful British guitarist and composer, this time hailing
from Kent. This is an exuberant piece and I play three of its movements: 1. Fanfare, 2. Scherzo and 3. Freeway.
It is full of recognisable sounds and motifs – the jangle of New York, the
plangent Blues of the Deep South, Keystone Cops, Mexico and even traffic with
horns beeping. It overflows with beautiful lively music and surprising changes
of pace and though extremely challenging it is a delight to play.
Erik Satie – Gnossiene
No one knows what the title
means; Satie made it up. He was a Dadaist and part of the Avant Garde movement
in Paris. His teachers at the Conservatoire were not impressed with him
although one of them insisted his talents lay in composing. Satie made a living
playing piano in cabaret for several years. But what a composer he was! This
exquisitely beautiful piece beguiles the listener with its mysterious oriental
ambience and delicate elegiac resonance. It fades away leaving you wishing it
was still going.
Antonio Lauro – Triptico
This
gorgeous piece, like the Venezuelan traditional tunes that inspired it, is
melodic, wistful and full of unusual vibrant syncopations. Lauro’s
contributions to his nation's musical life were universally recognised and
acknowledged, and he became professor of guitar at several distinguished
schools including the Juan José Landaeta Conservatory. He was also named
president of the Venezuela Symphony Orchestra. Although he insisted that he was
a composer rather than a performer, friends persuaded him to undertake a solo
concert tour which began in Venezuela and culminated in a triumphant 1980
performance at London's Wigmore Hall. He died six years later in Caracas but
just before that he was presented with Venezuela’s highest music award - the
Premio Nacional de Música.
 |
| explaining why the Contreras Carlevaro has (appears to have) no sound hole |
Programme for Jonathan Prag Classical Guitar at All Saints Church, King’s Lynn 21/7/13
George Gershwin – Prelude (Arr. Ken-Ichi Ebe)
J.S. Bach – Cello Suite No. 1 (Arr. John Duarte)
G. Rodriguez – La Cumparsita (Arr. G. Spolding)
Vincent Lindsay-Clark – Salsa Roja
Sergei Rudnev – Lipa Vekovaya
INTERVAL (20 minutes).
Isaac Albeniz – Asturias
Neil Smith – Niell Gow’s Shadow
Matthew Sear – America
Antonio Lauro – Triptico
Erik Satie – Gnossiene
 |
| coming back for an encore at All Saints Church King's Lynn in 2012 |
Programme on 2012-13 UK tour
 |
| Getting ready for the concert at South Street Arts in Reading |
Villa Lobos Prelude No. 1
J.S. Bach Lute Suite in E minor (BWB 996) Prelude and Allemande
Trad. (Arr. G. Coorf) The goose and the bright loveB. Bartok Romanian Dances
I. Albeniz Asturias (Leyenda)
Interval
A. Piazzolla Verano Porteňo
Cole Porter Begin the Beguine
E. Granados Oriental
Antonio Carlos Jobim Agua de Beber and Felicidade
Paco Peňa Herencia Latina
Programme - Edinburgh Festival Fringe 2012
 |
| C Too (venue 4) St Columba's church |
Villa Lobos Prelude No. 1
J.S. Bach Lute Suite in E minor (BWB 996) Prelude and Allemande
Trad. (Arr. G. Coorf) The Goose and the Bright Love
B. Bartok Romanian Dances
Trad. (Arr. J. Feeley) Staten Island HornpipeA. Piazzolla Verano Porteňo
Cole Porter Begin the Beguine
E. Granados Oriental
Paco Peňa Herencia Latina
Programme - Edinburgh Fringe 2011 at C too (church)
Leo Brouwer - Un Dia de Noviembre
G. F. Handel - Overture and Allemande from Suite in E minor
F. Tarrega - Capricho Arabe
A. Barrios - Waltz; Opus 8 No. 4Trad. (Words by Duncan Ban MacIntyre) - Maire Bhan Og
Belle Stewart(Arr. John Feeley) - The Berry Fields O’ Blair
Lluis Llach - L’Estaca
G.Jouannest; arr. Dyens (words J. Brel) -Chanson des Vieux Amants
Edinburgh 2010 at St Cuthbert's Church
Z. Abreu (arr. Takeuchi) Tico Tico No Fuba
E. Morricone (arr. Rowden) Theme from Once Upon A Time in The West
JS Bach (arr. Koonce) Prelude in E Major (Bwv 1006a)
A Barrios La Catedral
A. Bardi (arr. Morel) Gallo Ciego
R. Sainz De La Maza Petenera
S. Yradier (arr. Tarrega) La Paloma
T. O’Carolan Planxty Irwin and Planxty Fanny Power
S. Rudnev LipaVekovaia
L. Bernstein (arr. Morel) 3 pieces from West Side Story
