the Festival Program

Transcription

B O S T O N G U I T A R F E S T V I I I June 19-23, 2013
College of Arts, Media and Design
Eliot Fisk, Artistic Director
bostonguitarfest.org
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British Invasion
Dedicated to Julian Bream on the
occasion of his 80th birthday
Boston GuitarFest VIII
Dear Friends,
It is with great pride that the Boston GuitarFest family and I
welcome you to a “British Invasion” aka BOSTON GUITARFEST
2013, June 19th to 23rd, part VIII of our ongoing exploration
of the past, present, and future of our noble instrument, its
repertoire, and the greater cultural legacy that nourishes it.
This year we celebrate the birthday years of three great
Albion musicians: John Dowland, “whose touch upon the lute
doth ravish human sense” (Shakespeare); Benjamin Britten,
composer of the iconic work “Nocturnal after John Dowland, Op. 70”; and the exalted guitarist and
lutenist Julian Bream, who will turn 80 a few days after our festival ends and to whom we dedicate
Boston GuitarFest VIII.
I am thrilled to welcome back Oscar Ghiglia, Elena Papandreou, Richard Savino, Joaquín Clerch,
harpsichordist John Gibbons, and pianist Moisès Fernández Via. This year, for the first time, tenor
Nicholas Phan, soprano Nuria Orbea, and the eminent lutenist Nigel North will join us for Boston
GuitarFest as well. This stellar cast will be joined by a whole orchestra of wonderful young artists,
who will give us an unforgettable Emerging Artists Concert (punctuated by theatrical Shakespeare
scenes) curated by Zaira Meneses on June 22.
Once again Devin Ulibarri directs our annual competition for performance, whose jury will be
presided over by the eminent Bruce Holzman. William Riley and Adam Levin join Zaira Meneses in
our Young Guitarists Workshop, and Robert Bekkers directs our Luthiers Exposition, also back by
popular demand.
We are profoundly grateful to the administrations of two great Boston institutions, my own New
England Conservatory (led by British-born president, Tony Woodcock) and Northeastern University,
where music department chair Anthony De Ritis has been an indefatigable and loyal supporter of
GuitarFest almost since its inception.
Clearly a festival so conceived can only continue thanks to the tireless devotion of a magnificent
staff of selfless volunteers, this year brilliantly directed by Robert Hanson and backed up by a
group of generous and loyal sponsors and donors.
I look forward to seeing you as we celebrate our own “British Invasion” this week, here in America’s
birthplace. As Shakespeare writes at the opening of Twelfth Night, “If music be the food of love,
play on!”
Eliot Fisk
Founder and Artistic Director
Boston GuitarFest
New England Conservatory
Richard Feit
Dean, Performance Studies
Anthony Paul De Ritis
Chair, Department of Music
Northeastern University
From a letter from Julian Bream to Eliot Fisk
Welcome from the State Offices
Index
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4
5
5
6
30
49
50
51
52
53
54
59
Music brings people together, and I am so proud we hold this festival here in
the Bay State.
– Deval L. Patrick (D-MA)
Governor of Massachusetts
GuitarFest has become a wonderful summer tradition in Boston. Audiences
come to learn more about different cultural traditions and to enjoy the
extraordinary musical performances.
– Edward M. Kennedy (D-MA)
Late US Senator from Massachusetts
Boston GuitarFest is a perfect example of music’s ability to traverse
geographic, cultural, and ethnic boundaries, and as a confirmed amateur
guitarist I know it will also be a lot of fun. I encourage musicians and everyone
who appreciates their work to become involved in this important cultural
celebration, and I thank NEC and Eliot for making Boston GuitarFest a reality.
– John Kerry (D-MA)
US Secretary of State
GuitarFest is a great celebration of music and culture, and there’s no better
place for this festival than along Boston’s Avenue of the Arts. This weekend
is a terrific opportunity for people to come together, enjoy wonderful
performances, and share their love of music.
– Elizabeth Warren (D-MA)
US Senator from Massachusetts
I welcome Boston GuitarFest as it continues to showcase the cultural
advantages of the city of Boston, and to provide us all with the opportunity to
hear wonderful music, played at its best.
– Barney Frank (D-MA)
Massachusetts Representative
This festival is an opportunity to experience a diverse showcase of musical
talent, including the work of many gifted guitarists. I welcome performers
and festival attendees to Boston and hope you enjoy your visit.
– Michael E. Capuano (D-MA)
US Congressman from Massachusetts
www.bostonguitarfest.org
Program and Website Design: Maureen Ton, Northeastern University
Schedule
Competitions
Master Classes
Other Activities
Concerts
Musicians and Profiles
Support Us
Donors
Thanks
Hiksdal Fund
About Us
Map
Honoring Bob Sullivan
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Schedule
Subject to change
Wednesday, June 19
Thursday, June 20
Friday, June 21
Saturday, June 22
Sunday, June 23
12–3pm
ARRIVAL AND REGISTRATION
St. Botolph Lobby, NEC
9am–1pm
PERFORMANCE COMPETITION
Preliminary Round begins
(Closed to the Public)
Williams Hall, NEC
9am–5pm
LUTHIERS EXPO
St. Botolph, room 113
9am–5pm
LUTHIERS EXPO
9am–5pm
LUTHIERS EXPO
9am–1pm
Preliminary Round
(Closed to the Public)
Williams Hall, NEC
9am–1pm
Semifinal Round (Free and
open to the public)
Jordan Hall, NEC
9am–1pm
YOUNG GUITARISTS
WORKSHOP
Final session
St. Botolph, 3rd Floor, NEC
10am–1pm
MASTER CLASS
Oscar Ghiglia
Keller Room, NEC
9am–1pm
YOUNG GUITARISTS
WORKSHOP
Youth workshops continue
10am–1pm
MASTER CLASS
Oscar Ghiglia
Keller Room, NEC
5–6:30pm
OPENING RECEPTION
Festival participants will
have the opportunity to meet
each other as well as Artistic
Director Eliot Fisk and guest
artists, while enjoying food
and refreshments.
Pierce Hall, NEC
8pm
CONCERT
Opening Night
Eliot Fisk presents Lifetime
Achievement Award to
Robert Paul Sullivan
Premier of GuitarFest
2012 composition winner,
“Catarsis,” by Saúl Chapela,
Stefan Koim (guitar); Boston
GuitarFest 2012 competition
winner Chad Ibison (guitar);
John Gibbons (harpsichord)
joined by Eliot Fisk (guitar)
Fenway Center, NU
10am–1pm
MASTER CLASS
Oscar Ghiglia
Keller Room, NEC
5pm
CONCERT
Redcoat Reversal: New Music
Maarten Stragier (guitar);
Callithumpian Consort (SICPP)
Fenway Center, NU
8pm
CONCERT
Romance, Old and New
Richard Savino & El Mundo
(chamber group);
Joaquín Clerch (guitar) joined
by Eliot Fisk (guitar)
Fenway Center, NU
2–4pm
MUSEUM OF FINE ARTS
Immerse yourself in British
art, as well as art and artifacts
from Revolutionary America.
Registration at check-in.
Meet at Jordan Hall steps, 2pm
3–7pm
YOUNG GUITARISTS
WORKSHOP
5pm
TEA PARTY
Party like the English do with
a light, refreshing afternoon
reception including tea and
hors d’oeuvres.
Fenway Center, NU
7:30pm
CONCERT
If Music and Sweet Poetry Agree
Boston Guitar Orchestra;
Moisès Fernández Via (piano);
Nuria Orbea (soprano); and
Nigel North (lute)
Jordan Hall, NEC
10am–1pm
MASTER CLASS
Oscar Ghiglia
Keller Room, NEC
3pm–6pm
CONCERT
Emerging Artists Marathon
Jordan Hall, NEC
8pm
CONCERT
Music at the Close
Eliot Fisk and Oscar Ghiglia
with Nuria Orbea (soprano) and
Nicholas Phan (tenor)
Jordan Hall, NEC
2–3:30pm
ROUNDTABLE
The Role of the Guitar in
Contemporary Society:
Perspectives for the Future
Moderated by Stefano Kotsonis
of NPR, with a distinguished
panel and Q&A
Keller Room, NEC
4pm
CONCERT
Performance Competition
Final Round (Free and open to
the public)
Jordan Hall, NEC
6:30–7pm
CLOSING RECEPTION
Festival participants are invited
for the announcement of the
competition results, great
food and drinks, and Dowland
Madrigal quartet performances
by Tami Papagiannopoulos
(soprano), Elise Groves
(soprano), Eduardo Antonio
Ramos Suárez (tenor), and Will
Prapestis (baritone).
Keller Room, NEC
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Performance Competition
Youth Guitarists Workshop
June 20–23, 2013
June 21–23, 2013
Judges
Bruce Holzman, Joaquín Clerch, Nuria Orbea,
Elena Papandreou, Moisès Fernández Via
Instructors
Adam Levin, William Riley, Zaira Meneses
Preliminary round (Closed to the public)
10 min. max. Contestant must perform one
work by an English composer and/or with an
English theme.
June 20 and 21: 9am–1pm Williams Hall
Semifinal round (Open to the public)
15 min. max. Free choice but not including
required piece. A different piece by an English
composer or English theme may be performed.
June 22: 9am–1pm Jordan Hall
Final round (Free concert, open to the public)
25 min. max. Contestant must perform one
work by an English composer and/or with an
English theme. This work may be the same or
different as in the preliminary round.
June 23: 4pm Jordan Hall
Individual movements from major works are
acceptable. No concertos or chamber music
will be permitted. All pieces must be performed
from memory on a nylon-string, classical
guitar. The judges’ decisions are final.
1st prize: $5000, GuitarFest 2014 concert
2nd prize: $2500
3rd prize: $1000
Complete rules at www.bostonguitarfest.org
YGW offers group instruction with individual
attention, specialized technical exercises, and
this year even drama coaching to increase
confidence on stage. Young guitarists enjoy
the NEC experience firsthand and get a taste
of how much fun music making can be!
Schedule
3pm
3:30pm
4pm
5:30pm
6:30pm
7pm
FRIDAY JUNE 21
Registration
Warm-up/Technique
Ensemble
Shakespeare Workshop
Master Class
Pick Up
9am
9:30am
11am
12pm
12:30pm
1:30pm
2:30pm
SATURDAY JUNE 22
Warm-up/Ensemble
Ensemble
Lunch
Master Class
Music Appreciation
Pick Up
9am
10am
11am
12:30pm
1pm
SUNDAY JUNE 23
Music Appreciation
Ensemble Dress-Rehearsal
Snack
Student Recital
Master Classes
Other Activities
Oscar Ghiglia Master Class
Museum of Fine Arts Outing
June 20–23, 10am–1pm
Keller Room, NEC
Friday June 21, 2–4:30pm
Museum of Fine Arts (Meet at Jordan Hall steps)
465 Huntington Ave, Boston
Once again Boston GuitarFest is honored to
present the master classes of guitar guru
Oscar Ghiglia. Maestro Ghiglia’s artistry
has always proceeded from the vocal nature
of music, his rigorous discipline, and
attention to detail inspired by a Toscaninilike obsession with the score as a point
of departure and return. The poetic and
imaginative teaching of Oscar Ghiglia has
formed several generations of guitarists
both great and small. His contribution to
the development of the instrument remains
a profound source of never-ending wisdom
and inspiration for his innumerable disciples
and admirers all around the world.
An appreciation of visual art is can be a wonderful
complement to the informed interpretation of
classical music. Boston’s Museum of Fine Arts,
located just up the Avenue of the Arts from NEC,
offers everything from ancient Egyptian artifacts
to the newly installed “Art of the Americas Wing.”
A tour of the MFA has long been an integral part
of the multi-disciplinary approach that sets
Boston GuitarFest apart from other festivals.
Participants are invited to immerse themselves in
the art that influenced those who brought us the
music of the “British Invasion,” from Elizabethan
times onward. Special attractions include an
exhibit of Mario Testino’s British Royal Portraits,
older masterpieces from the times of kings,
queens, and courtiers, and the MFA’s famous
collection of early musical instruments.
Tour leader, Devin Ulibarri: (505) 379-6253
Tea Party
Friday June 21, 5pm
Fenway Center, NU
Party like the English do with a light, refreshing
afternoon reception including tea and hors
d’oeuvres. The fun will include an open mic for
performances and a raffle for CDs, strings, and
GuitarFest memorabilia.
Roundtable
Sunday June 23, 2–3:30pm
Keller Room, NEC
Composition Competition
Works will be reviewed by judges during the festival.
Judges: Anthony De Ritis, Apostolos Paraskevas,
Alexander Dunn, Enric Madriguera
Boston GuitarFest 2013 Composition Competition
judges will be selecting a work for solo guitar,
composed for the six-stringed classical guitar.
No published or previously awarded
compositions should be submitted. The winner
will be announced at the Closing Reception.
A prize of $400, performance of the work at
GuitarFest 2014, and a 5-day registration for
GuitarFest 2014 will be awarded.
The Role of the Guitar in Contemporary Society:
Perspectives for the Future
WBUR yeoman Stefano Kotsonis moderates
a lively roundtable discussion. The panel will
address subjects such as economic viability and
the challenges of expanding the audience for the
classical guitar. Audience participation welcomed
and encouraged.
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Concert 1
Wednesday, June 19
Opening Night
8pm Fenway Center
Boston GuitarFest VIII,
British Invasion, opens
with the immortal words
of William Shakespeare.
Shakespeare, in excerpts
rendered by actors directed
by BostonConservatory’s Liz
Hayes, provides a continuous
thread throughout the
festival, underscoring the
cross-disciplinary approach
of Boston GuitarFest since its
inception in 2006. The scene
“If music be the food of love,
play on!” from Twelfth Night
is presented by actor Alex
Simoes.
Boston GuitarFest Lifetime Achievement Award presented
to Robert Paul Sullivan by Eliot Fisk.
Alex Simoes, actor
William Shakespeare (1564–1616)
Scene from Twelfth Night (I.1)
(See text on p.13)
Stefan Koim, guitar
Saúl Chapela
Catarsis (2012 Winning Composition)
Stefan Koim opens the musical
part of Boston GuitarFest VIII
with the premiere of “Catarsis”
by Saúl Chapela, winner of
the 2012 Boston GuitarFest
composition competition.
Luthiers Expo
Friday–Sunday 9am–5pm
Back by popular demand, Boston GuitarFest’s Luthiers Expo has now expanded to three days,
offering participants even more of time to stop by and test drive fine instruments by luthiers from
around the world. Don’t miss this chance to learn about the guitar in new and intimate ways, swap
insider tips, and gain insight from the artists and craftspeople who give voice to our music.
Then Chad Ibison, firstprize winner of the Boston
GuitarFest 2012 competition
for interpretation, continues
with Mauro Giuliani’s
variations on the Austrian
folk-song, “I’m A Boy from the
Cabbage Farm.” The 18th of
Mario Castelnuovo-Tedesco’s
24 Caprichos de Goya is
based on no. 43 from the
famous series of etchings by
Francisco Goya (1746–1828),
inspired by the horrors of the
Napoleonic Wars in Spain.
“Fantasy abandoned by
reason produces impossible
monsters,” which is in turn
evocative of Shakespeare’s A
Midsummer Night’s Dream.
Julian Bream commissioned
Alan Rawsthorne’s Elegy
in 1971. In a horrible twist
of fate, the composer died
before completing the work,
and thus, “as it seemed a
shame to let such fine music
languish,” Bream composed
its final portion. Bach’s Sonata
in E minor, BWV 1034, for
transverse flute and continuo
is arranged here by Scottish
guitarist David Russell; the two
notated parts of the original
work remain essentially intact
apart from occasional changes
in register to accommodate the
guitar.
Veteran harpsichord virtuoso
John Gibbons will introduce
a rich variety of English and
Anglo-inspired works, and will
be joined by Artistic Director
Eliot Fisk in Bach’s Sonata in E
major, BWV 1016, originally for
violin and cembalo obbligato.
Chad Ibison, guitar
2012 Competition Winner
Mauro Giuliani (1781–1829)
Six Variations (1814)
Sur la chanson nationale “I bin a Kohlbauern Bub” Op.49
Mario Castelnuovo Tedesco (1895–1968)
24 Caprichos de Goya Op.195
No. 18, “El sueño” de la razon produce monstrous (1968)
(The Sleep of Reason Produces Monsters)
Alan Rawsthorne (1905–1971)
Elegy (1971)
J. S. Bach (1685–1750)
Sonata in E minor for flute and continuo, BWV 1034
I. Adagio
II. Allegro
III. Andante
IV. Allegro
INTERMISSION
John Gibbons, harpsichord
Orlando Gibbons (1583–1625)
Variations on The Woods So Wild
The Queen’s Command
John Bull (1562–1628)
The Lord Lumley’s Pavin & The Galliard to it
Henry Purcell (1659–1695)
Suite II in G Minor
Prelude, Almand, Corant, Saraband
Ground in C Minor
John Gibbons, harpsichord
Eliot Fisk, guitar
Johann Sebastian Bach (1685–1750)
Sonata in E Major, BWV 1016
(Adagio), (Allegro), Adagio ma non tanto, Allegro
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Concert 2
Thursday, June 20
Redcoat Reversal: New
Music
5pm Fenway Center
After a two-century sunset,
history seems to have turned
the former British Empire
inside out. On the geopolitical
stage, it now pays deference
to one of its former Western
colonies, and in the decades
to come it might have to
bow to another in the east.
Indeed, the focus of the old
“Brittosphere” has long
moved from its center. Given
the theme of this year’s
GuitarFest, I thought it would
be interesting to somehow
reflect this eccentricity in
a concert program. Hence,
it showcases music from
Clarence Barlow, an Indian
composer who only in his
twenties came to appreciate
the music of his own home
country; from Rand Steiger,
who is based in California and
the composer in residence for
this year’s Summer Institute
for Contemporary Performance
Practice at NEC (SICPP); and
from two British composers,
Jonathan Harvey and Rebecca
Saunders, whose aesthetic
lineage lies mostly outside of
British musical tradition.
—M. Stragier
This concert is given in collaboration with NEC’s Summer
Institute for Contemporary
Performance Practice (SICPP)
Maarten Stragier and the Callithumpian Consort
Clarence Barlow (b. 1945, India)
…Until… version 7 for guitar Bob Ward, guitar
Rand Steiger (b. 1958, USA)
A Good Diffused Adrienne Arditti, soprano; Jessi Rosinski, flute; Jeff Means, Nick
Tolle, percussion; Maarten Stragier, Alex Dunn, Robert Ward,
guitar; Elaine Rombola, harpsichord; Yukiko Takagi, piano;
Gabriela Diaz, violin; Ben Schwartz, cello; Stephen Drury,
conductor
Rebecca Saunders (b. 1967, UK)
Vermilion Maarten Stragier, electric guitar; Rane Moore, clarinet; Caleb van
der Swaagh, cello
Jonathan Harvey (b. 1939, UK)
Still Beth McDonald, tuba and electronics
Museum Visit
Friday June 21, 2–4:30pm
Museum of Fine Arts (Meet at Jordan Hall steps)
465 Huntington Ave, Boston
An appreciation of visual art is can be a wonderful complement to the informed interpretation of
classical music. Boston’s Museum of Fine Arts, located just up the Avenue of the Arts from NEC, offers
everything from ancient Egyptian artifacts to the newly installed “Art of the Americas Wing.” A tour of
the MFA has long been an integral part of the multi-disciplinary approach that sets Boston GuitarFest
apart from other festivals. Festival participants are invited to immerse themselves in the art that
influenced those who brought us the music of the “British Invasion,” from Elizabethan times onward.
Special attractions include an exhibit of Mario Testino’s British Royal Portraits, older masterpieces from
the times of kings, queens, and courtiers, and the MFA’s famous collection of early musical instruments.
Tour leader, Devin Ulibarri: (505) 379-6253
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Concert 3
Thursday, June 20
Romance, Old and New
8pm Fenway Center
The idolization of romantic
love provided endless
inspiration for the poets,
playwrights, and musicians
of the court of Queen
Elizabeth I. Nowhere is this
more powerfully expressed
than in Shakespeare’s tragic
masterpiece, Romeo and Juliet,
set in the Italian city of Verona.
Kingdoms and Viceroys:
Spanish and Italian Music from
the 17th & 18th Centuries
Richard Savino and the
chamber players of El Mundo
present jewels of the music
Shakespeare’s star-crossed
lovers might have heard,
performed with historic verve
on period instruments.
Alex Simoes, actor
Liz Hayes, actor
Scene from Romeo & Juliet (I.5)
(See text on p.13)
Richard Savino and El Mundo
Richard Savino, baroque guitar; Salome Sandoval, soprano;
Cleland Kinloch Earle, violin; Emily Walhout, viola da gamba
Domenico Pellegrini (fl. 1650)
Toccata, Ciaconna & Corrente (guitar solo)
Jose Marin (1619–1699)
Ojos pues me desdeñáis
Anon. c. 1670
Folia (violin & guitar)
Antonio de Salazar (c.1650–1715)
Tarara yo soy Anton
Santiago de Murcia (1673–1739)
Fandango (guitar solo)
Rafael Castellanos (c. 1725–1791)
Oygan una xacarilla
Francesco Corbetta (c.1615–1681)
Symphonia
Georg Friedrich Händel (1685–1759)
Cantata a voce solo con chitarra espagnola
Aria, Recitative, Aria
Jose Marin
Si quieres dar Marcia
Francesca Caccini (1587–1640)
Chi Desia
INTERMISSION
The strains of love, requited
and unrequited, live on into
the court of Queen Elizabeth
II with the music of the
Beatles, tonight performed by
Joachín Clerch and Eliot Fisk
in versions for two guitars by
Leo Brouwer. The sweetness
of Clerch’s interpretation of
Granados Valses Poeticos is
succeeded by Rodrigo’s “Un
tiempo fue Italica famosa,”
(Once upon a time Italica
was famous), an ode to the
fallen Roman city that once
flourished outside modernday Seville. Tonight’s concert
concludes with music that is
perhaps the very definition of
romance, with two tangos by
the Argentinean king of tango,
Astor Piazzolla.
Joaquín Clerch, guitar
Eliot Fisk, guitar
John Lennon and Paul McCartney/ Leo Brouwer
Penny Lane
The Fool on the Hill
She’s Leaving Home
Joaquín Clerch, guitar
Enrique Granados (1867–1916)
Ocho valses poeticos (trans. Joaquín Clerch)
Vivave molto
Melodioso
Tempo de Valse noble
Tempo de Valse lente
Allegro umoristico
Allegretto
Quasi ad libitum
Vivo
Presto
Joaquín Rodrigo (1901–1999)
Un tiempo fue Itálica famosa Astor Piazzolla (1921–1992) Invierno porteño (trans. Sergio Assad) Adios nonino (trans. Cacho Tirao)
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Concert 1 and 3 Texts
William Shakespeare
William Shakespeare
DUKE ORSINO
If music be the food of love, play on;
Give me excess of it, that, surfeiting,
The appetite may sicken, and so die.
That strain again! it had a dying fall:
O, it came o’er my ear like the sweet sound,
That breathes upon a bank of violets,
Stealing and giving odour! Enough; no more:
‘Tis not so sweet now as it was before.
O spirit of love! how quick and fresh art thou,
That, notwithstanding thy capacity
Receiveth as the sea, nought enters there,
Of what validity and pitch soe’er,
But falls into abatement and low price,
Even in a minute: so full of shapes is fancy
That it alone is high fantastical.
ROMEO
If I profane with my unworthiest hand
This holy shrine, the gentle fine is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
Scene from Twelfth Night (I.1)
Scene from Romeo & Juliet (I.5)
JULIET
Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this;
For saints have hands that pilgrims’ hands do touch,
And palm to palm is holy palmers’ kiss.
ROMEO
Have not saints lips, and holy palmers too?
JULIET
Ay, pilgrim, lips that they must use in prayer.
ROMEO
O, then, dear saint, let lips do what hands do;
They pray, grant thou, lest faith turn to despair.
JULIET
Saints do not move, though grant for prayers’ sake.
ROMEO
Then move not, while my prayer’s effect I take.
Thus from my lips, by yours, my sin is purged.
JULIET
Then have my lips the sin that they have took.
ROMEO
Sin from thy lips? O trespass sweetly urged!
Give me my sin again.
JULIET
You kiss by the book.
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Concert 4
Friday, June 21
If Music and Sweet Poetry
Agree
7:30pm Jordan Hall
Three selections arranged for
Boston Guitar Orchestra are a
prelude to tonight’s concert,
capturing the essence of
the English style. Purcell’s
operatic masterpiece mourns
the impending death of Dido,
while Elgar’s youthful style
is portrayed in his elegant
Serenade for Strings; the
Larghetto is perhaps his most
famous work. The performance
concludes with a tribute to
one of England’s premier rock
bands, Queen, with Freddy
Mercury’s tragic Bohemian
Rhapsody.
Moisès Fernández Via’s
interpretation of Bach’s
English Suite is enriched by a
video poem, which was born
of necessity: a performance
venue was unable to fit a grand
piano into their tiny space. In
response, Via created a film
that could faithfully present
the closest possible visual
translation of his approach
to Bach’s English Suite,
without a piano. Via and Nuria
Orbea will also present Erich
Wolfgang Korngold’s “Songs
of the Clown” (based on texts
from Shakespeare’s Twelfth
Night), which received its first
performance at a workshop
sponsored by the great
stage and screen director
Max Reinhardt. Korngold,
a legendary film composer,
reveals his sensitivity to the
musical and dramatic power
Boston Guitar Orchestra
Scott Borg, Director
Henry Purcell (1659–1695) Dido’s Lament, from Dido and Aeneas (arr. Borg)
Edward Elgar (1857–1934) Serenade for Strings in E Minor Op.20 (arr. Borg) Allegro piacevole
Larghetto
Queen (1975) Bohemian Rhapsody (arr. Zevos) Moisès Fernández Via, piano
Nuria Orbea, soprano
J. S. Bach (1685–1750)
English Suite in G Minor, BWV 808
[Performed in the context of the video-poem “Suite in b/n” by
Moisès Fernández Via (2007)]
Prélude
Allemande
Courante
Sarabande
Gavotte I & II
Gigue
Isaac Albéniz (1860–1909)
Two Songs
(See text on p.16)
The Caterpillar The Gifts of Gods
Erich Wolfgang Korngold (1897–1957)
Songs of the Clown Op. 29
(See text on p.16)
Come Away, Death
O Mistress Mine
Adieu, Good Man Devil
Hey, Robin!
For the Rain, It Raineth Every Day
INTERMISSION
of Shakespeare’s texts in his
Opus 29 songs, representing
a rare venture into classical
vocal repertoire during his
“Hollywood” period.
Ravishing Touch
Legendary lutenist Nigel North
will bring to life the works of
John Dowland in a program
titled “Ravishing Touch.” In
a sonnet from 1598, the poet
Richard Barnfield* paid the
most telling tribute to John
Dowland by writing, “Dowland
to thee is dear, whose heavenly
touch/Upon the lute doth
ravish human sense.” From
this, and from Dowland’s
music itself, we can sense that
Dowland’s inimitable qualities
as a performer (of his own
compositions) were the beauty
of his tone coupled with an
extraordinary ability to move
the emotions of his listeners.
Dowland’s surviving canon
of works consists of about
one hundred solo lute pieces,
almost the same quantity of
lute songs, plus some consort
pieces for viols and lute. He
and Shakespeare were exact
contemporaries, born one year
apart. Shakespeare is known
to have revised some works
over many years, but this does
not diminish our admiration of
his genius. Similarly, some of
Dowland’s lute pieces survive
in as many as ten versions so it
is impossible to define any as
“the authentic one.”
*also attributed to William
Shakespeare
Mark Cohen, actor
Monologue from Richard III (I.1)
(See text on p.17)
Alexandra Manick, actor
The Passionate Pilgrim
(See text on p.17)
Nigel North, lute
John Dowland (1563–1626)
Lachrimae
Earl of Essex, his Galliard
Mrs White’s thing
Lord Strange’s March
Pavan “Solus cum sola”
Melancholy Galliard
Orlando Sleepeth
Lady Hunsdon’s Puffe
Fortune my foe
Sweet Robin
Go from my window
Lord Willoughby’s Welcome
Katherine Darcy’s spirit
Tarleton’s Resurrection
Mrs Winter’s Jump
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Concert 4 Texts
Isaac Albéniz
Selected Songs
Not a friend, not a friend greet
My poor corpse, where my bones shall be thrown:
A thousand, thousand sighs to save,
Lay me, O where
Sad true lover never find my grave,
To weep there!
Text by Francis Money Coutts
The Caterpillar
Caterpillar on the wall,
Wither, wither do you crawl?
You know not, yourself, me thinks,
strange and wandering little sphinx!
I will tell you where to go,
underneath the winter snow,
in an old tree’s secret hole,
you shall hide your little soul.
There, with summer, you shall learn,
thence, with summer, you shall leap,
wave your fairy wings on high,
sip the flowers and kiss the sky.
Emblem worm of many thing,
so the joyous mind can spring
through the hush of brooding hours,
kiss the sky and sip the flowers.
The Gifts of the Gods
Once with life and love enamour’d
We besought the gods above;
“Send us love and life!” we clamour’d
and they sent us life and love.
Soon they overfill’d the measure
Soon we pray’d them “Grant us calm!”
But the answer’d “Pain is pleasure!”
“Crush from bitter herbs the balm!”
“Forms of beauty ye may fashion
from the anguish of the heart;”
“Only by the cross of passion
can ye win the crown of Art.”
Erich Wolfgang Korngold
Songs of the Clown Op. 29
Come Away Death
Come away, come away, death,
And in sad cypress let me be laid;
Fly away, fly away, breath;
I am slain by a fair cruel maid.
My shroud of white, stuck all with yew,
O prepare it!
My part of death, no one so true
Did share it.
Not a flower, not a flower sweet,
On my black coffin let there be strown;
O Mistress Mine
O mistress mine, where are you roaming?
O stay and hear, your true love’s coming
That can sing both high and low.
But when I came unto my beds,
With hey, ho, the wind and the rain,
With toss-pots still had drunken heads,
For the rain it raineth every day.
A great while ago the world begun,
With hey, ho, the wind and the rain,
But that’s all one, our play is done,
And we’ll strive to please you every day.
William Shakespeare
Trip no further, pretty sweeting;
Journeys end in lovers’ meeting,
Ev’ry wise man’s son doth know.
What is love? ‘Tis not hereafter;
Present mirth hath present laughter;
What’s to come is still unsure:
In delay there lies no plenty;
Then come kiss me, sweet and twenty;
Youth’s a stuff will not endure.
Adieu, Good Man Devil
I am gone, sir,
And anon, sir,
I’ll be with you again,
in a trice,
Like to the old vice,
Your need to sustain.
Who with dagger of lath
In his rage and his wrath,
Cries, aha, to the devil, aha, ha, ha!
Like a mad lad,
Pare thy nails, dad.
Adieu, good man devil.
Hey Robin!
Hey, Robin, jolly Robin,
Tell me how thy lady does.
My lady is unkind, perdy.
Hey, Robin, jolly Robin,
Tell me why is she so?
She loves another, another.
For the Rain It Raineth Every Day
When that I was and a little tiny boy,
[With] hey, ho, the wind and the rain,
A foolish thing was but a toy,
But when I came to man’s estate,
[With] hey, ho, the wind and the rain,
‘Gainst knaves and thieves men shut their gate,
But when I came, alas! to wive,
With hey, ho, the wind and the rain.
By swaggering could I never thrive,
Monologue from Richard III (I.1)
GLOUCESTER
Now is the winter of our discontent
Made glorious summer by this sun of York;
And all the clouds that lour’d upon our house
In the deep bosom of the ocean buried.
Now are our brows bound with victorious wreaths;
Our bruised arms hung up for monuments;
Our stern alarums changed to merry meetings,
Our dreadful marches to delightful measures.
Grim-visaged war hath smooth’d his wrinkled front;
And now, instead of mounting barded steeds
To fright the souls of fearful adversaries,
He capers nimbly in a lady’s chamber
To the lascivious pleasing of a lute.
But I, that am not shaped for sportive tricks,
Nor made to court an amorous looking-glass;
I, that am rudely stamp’d, and want love’s majesty
To strut before a wanton ambling nymph;
I, that am curtail’d of this fair proportion,
Cheated of feature by dissembling nature,
Deformed, unfinish’d, sent before my time
Into this breathing world, scarce half made up,
And that so lamely and unfashionable
That dogs bark at me as I halt by them;
Why, I, in this weak piping time of peace,
Have no delight to pass away the time,
Unless to spy my shadow in the sun
And descant on mine own deformity:
And therefore, since I cannot prove a lover,
To entertain these fair well-spoken days,
I am determined to prove a villain
And hate the idle pleasures of these days.
Plots have I laid, inductions dangerous,
By drunken prophecies, libels and dreams,
To set my brother Clarence and the king
In deadly hate the one against the other:
And if King Edward be as true and just
As I am subtle, false and treacherous,
This day should Clarence closely be mew’d up,
About a prophecy, which says that ‘G’
Of Edward’s heirs the murderer shall be.
Dive, thoughts, down to my soul: here
Clarence comes.
William Shakespeare
The Passionate Pilgrim
VIII.
If music and sweet poetry agree,
As they must needs, the sister and the brother,
Then must the love be great ‘twixt thee and me,
Because thou lovest the one, and I the other.
Dowland to thee is dear, whose heavenly touch
Upon the lute doth ravish human sense;
Spenser to me, whose deep conceit is such
As, passing all conceit, needs no defence.
Thou lovest to hear the sweet melodious sound
That Phoebus’ lute, the queen of music, makes;
And I in deep delight am chiefly drown’d
When as himself to singing he betakes.
One god is god of both, as poets feign;
One knight loves both, and both in thee remain.
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Concert 5
Saturday, June 22
Emerging Artists Marathon
3pm Jordan Hall
Boston GuitarFest is proud to
present its first-ever Emerging
Artists marathon concert,
featuring some of the most
exciting young musicians
on the world stage today.
Audience members are
welcome to come and go as
needed, but you won’t want to
miss the spectacular variety
and artistry packed into this
afternoon concert.
Raquel Fisk, piano
Robert Price, guitar
Felix Mendelssohn
Lied ohne Worte, Op. 19 #1, in E major
Donovan (b. 1946)
The Fat Angel
Liz Hayes, actor
Zaira Meneses, guitar
Adam Levin, guitar
Monologue from Henry V (I.1)
(See text on p.21)
Nicholas Ciraldo, guitar
Rachel Ciraldo, flute
George Rochberg (1918–2005)
Muse of Fire
Fernando Sor (1778–1839)
Etude in C Major, Opus 6, Number 10
Stefan Koim, guitar
Hans Werner Henze (1926–2012)
Royal Winter Music
Sonata No.2 *based on Shakespearean Characters
I. Sir Andrew Aguecheeck
II. Bottom’s dream
III. Mad Lady Macbeth (following the next two scenes)
Mark Cohen, actor
Candice Brown, actor
Alex Simoes, actor
Liz Hayes, actor
From A Midsummer Night’s Dream (IV.1)
(See text on p.21)
Candice Brown, actor
Alex Simoes, actor
Liz Hayes, actor
Erich Wolfgang Korngold (1897–1957)
Intermezzo & Hornpipe from Much Ado About Nothing
(arr. for two guitars by Gregg Nestor)
Adam Levin, guitar
Mario Castelnuovo-Tedesco (1985–1968)
Platero y yo, Op.190
Los Gitanos
Golondrinas
La Primavera
Lautaro Mantilla, guitar
David Cordes, narrator
Eugenio Martinez (b.1980)
The Poise and the Noise
Merengue
Lautaro Mantilla (b. 1982)
Walk a Tightrope
George Harrison (1943–2001)
While My Guitar Gently Weeps (arr. Mark Ribot)
Lautaro Mantilla (b. 1982)
Lilliput’s Trial
Text from the Gulliver’s Travels by Jonathan Swift (1667–1745)
Bryan Burns, guitar
Preludium (Poulton 98)
From Macbeth
(See text on p.22)
Francesco da Milano (1497–1543)
Ricercare “La Compagana”(N. 34)
Tessa Lark, violin
Sir Lennox Berkeley (1903–1989)
Theme and Variations Op. 77
Niccolo Paganini (1782–1840)
Variations on “God Save the King” Op. 9
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Concert 5 Texts
Robert Bekkers, guitar
HuiMin Wang, piano
Fantasia Opus 145
I. Andantino
II. Vivacissimo
Scott Borg, guitar
William Walton (1902–1982)
Five Bagatelles
Allegro
Lento
Alla Cubana
Sempre espressivo
Con slancio
Julian Bream, guitar
Raquel Fisk, piano
Joaquín Malats (1872–1912)
Serenata Española
William Shakespeare
Monologue from Henry V (I.1)
CHORUS
O for a Muse of fire, that would ascend
The brightest heaven of invention,
A kingdom for a stage, princes to act
And monarchs to behold the swelling scene!
Then should the warlike Harry, like himself,
Assume the port of Mars; and at his heels,
Leash’d in like hounds, should famine, sword and fire
Crouch for employment. But pardon, and gentles all,
The flat unraised spirits that have dared
On this unworthy scaffold to bring forth
So great an object: can this cockpit hold
The vasty fields of France? or may we cram
Within this wooden O the very casques
That did affright the air at Agincourt?
O, pardon! since a crooked figure may
Attest in little place a million;
And let us, ciphers to this great accompt,
On your imaginary forces work.
Suppose within the girdle of these walls
Are now confined two mighty monarchies,
Whose high upreared and abutting fronts
The perilous narrow ocean parts asunder:
Piece out our imperfections with your thoughts;
Into a thousand parts divide on man,
And make imaginary puissance;
Think when we talk of horses, that you see them
Printing their proud hoofs i’ the receiving earth;
For ‘tis your thoughts that now must deck our kings,
Carry them here and there; jumping o’er times,
Turning the accomplishment of many years
Into an hour-glass: for the which supply,
Admit me Chorus to this history;
Who prologue-like your humble patience pray,
Gently to hear, kindly to judge, our play.
William Shakespeare
From A Midsummer Night’s Dream (IV.1)
TITANIA
Come, sit thee down upon this flowery bed,
While I thy amiable cheeks do coy,
And stick musk-roses in thy sleek smooth head,
And kiss thy fair large ears, my gentle joy.
BOTTOM
Where’s Peaseblossom?
PEASEBLOSSOM
Ready.
BOTTOM
Scratch my head Peaseblossom. Where’s Mounsieur
Cobweb?
COBWEB
Ready.
BOTTOM
Mounsieur Cobweb, good mounsieur, get you your
weapons in your hand, and kill me a red-hipped
humble-bee on the top of a thistle; and, good
mounsieur, bring me the honey-bag. Do not fret
yourself too much in the action, mounsieur; and,
good mounsieur, have a care the honey-bag break not;
I would be loath to have you overflown with a
honey-bag, signior. Where’s Mounsieur Mustardseed?
MUSTARDSEED
Ready.
BOTTOM
Give me your neaf, Mounsieur Mustardseed. Pray you,
leave your courtesy, good mounsieur.
MUSTARDSEED
What’s your Will?
BOTTOM
Nothing, good mounsieur, but to help Cavalery Cobweb
to scratch. I must to the barber’s, monsieur; for
methinks I am marvellous hairy about the face; and I
am such a tender ass, if my hair do but tickle me,
I must scratch.
TITANIA
What, wilt thou hear some music,
my sweet love?
BOTTOM
I have a reasonable good ear in music. Let’s have
the tongs and the bones.
TITANIA
Or say, sweet love, what thou desirest to eat.
BOTTOM
Truly, a peck of provender: I could munch your good
dry oats. Methinks I have a great desire to a bottle
of hay: good hay, sweet hay, hath no fellow.
TITANIA
I have a venturous fairy that shall seek
The squirrel’s hoard, and fetch thee new nuts.
BOTTOM
I had rather have a handful or two of dried peas.
But, I pray you, let none of your people stir me: I
have an exposition of sleep come upon me.
TITANIA
Sleep thou, and I will wind thee in my arms.
Fairies, begone, and be all ways away.
So doth the woodbine the sweet honeysuckle
Gently entwist; the female ivy so
Enrings the barky fingers of the elm.
O, how I love thee! how I dote on thee!
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From Macbeth
DOCTOR
I have two nights watched with you, but can perceive
no truth in your report. When was it she last walked?
GENTLEWOMAN
Since his majesty went into the field, I have seen
her rise from her bed, throw her night-gown upon
her, unlock her closet, take forth paper, fold it,
write upon’t, read it, afterwards seal it, and again
return to bed; yet all this while in a most fast sleep.
DOCTOR
A great perturbation in nature, to receive at once
the benefit of sleep, and do the effects of
watching! In this slumbery agitation, besides her
walking and other actual performances, what, at any
time, have you heard her say?
GENTLEWOMAN
That, sir, which I will not report after her.
DOCTOR
You may to me: and ‘tis most meet you should.
GENTLEWOMAN
Neither to you nor any one; having no witness to
confirm my speech.
Lo you, here she comes! This is her very guise;
and, upon my life, fast asleep. Observe her; stand
close.
DOCTOR
How came she by that light?
GENTLEWOMAN
Why, it stood by her: she has light by her
continually; ‘tis her command.
DOCTOR
You see, her eyes are open.
GENTLEWOMAN
Ay, but their sense is shut.
DOCTOR
What is it she does now? Look, how she rubs her hands.
GENTLEWOMAN
It is an accustomed action with her, to seem thus
washing her hands: I have known her to continue in
this a quarter of an hour.
LADY MACBETH
Yet here’s a spot.
DOCTOR
Hark! she speaks: I will set down what comes from
her, to satisfy my remembrance the more strongly.
LADY MACBETH
Out, damned spot! out, I say!--One: two: why,
then, ‘tis time to do’t.--Hell is murky!--Fie, my
lord, fie! a soldier, and afeard? What need we
fear who knows it, when none can call our power to
account?--Yet who would have thought the old man
to have had so much blood in him.
DOCTOR
Do you mark that?
LADY MACBETH
The thane of Fife had a wife: where is she now?-What, will these hands ne’er be clean?--No more o’
that, my lord, no more o’ that: you mar all with
this starting.
DOCTOR
Go to, go to; you have known what you should not.
GENTLEWOMAN
She has spoke what she should not, I am sure of
that: heaven knows what she has known.
LADY MACBETH
Here’s the smell of the blood still: all the
perfumes of Arabia will not sweeten this little
hand. Oh, oh, oh!
DOCTOR
What a sigh is there! The heart is sorely charged.
GENTLEWOMAN
I would not have such a heart in my bosom for the
dignity of the whole body.
DOCTOR
Well, well, well,
GENTLEWOMAN
Pray God it be, sir.
DOCTOR
This disease is beyond my practise: yet I have known
those which have walked in their sleep who have died
holily in their beds.
LADY MACBETH
Wash your hands, put on your nightgown; look not so
pale.--I tell you yet again, Banquo’s buried; he
cannot come out on’s grave.
DOCTOR
Even so?
LADY MACBETH
To bed, to bed! there’s knocking at the gate:
come, come, come, come, give me your hand. What’s
done cannot be undone.—To bed, to bed, to bed!
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Concert 6
Saturday, June 22
Music at the Close
8pm Jordan Hall
The festival’s final concert,
opens with CastelnuovoTedesco’s guitar solo
dedicated to Andres Segovia
and closes with Benjamin
Britten’s tombeau to John
Dowland, the epic Nocturnal
after John Dowland, Op.
70. Maestro Oscar Ghiglia,
the festival’s special guest,
performs one of da Milano’s
great contrapuntal Ricercars
and is joined by artistic
director Eliot Fisk in a new
version for two guitars of
da Milano’s transcription of
Jannequin’s vocal quartet,
“Song of the Birds.” Renowned
operatic tenor Nicholas Phan
joins Fisk to continue the
cross-channel, English-French
connection in French folksong
settings by Matyas Seiber
(a Hungarian turned Briton).
Nuria Orbea joins Fisk for
Britten’s piquant Songs from
the Chinese, and Phan and
Fisk follow this with Walton’s
often bawdy Anon. in Love.
Fisk and Phan continue
with some of the greatest
lute song masterpieces by
John Dowland, whose 450th
birthday the festival celebrates
this year, and whose “Come
Heavy Sleep” returns to
conclude Britten’s Nocturnal,
dedicated to our festival’s own
dedicatee, Julian Bream.
Oscar Ghiglia, guitar
Tonadilla on the name of Andres Segovia, Op. 170, Nr. 5
Francesco da Milano
Ricercare XVII
Eliot Fisk, guitar
Oscar Ghiglia, guitar
Clement Jannequin/ Francesco da Milano/ Oscar Ghiglia
Canzon degli Uccelli (Song of the Birds)
Eliot Fisk, guitar
Nicholas Phan, tenor
Mátyás Seiber (1905–1960)
4 French Folk Songs
(See text on p.26)
Réveillez-vous
J’ai descendu
Le Rossignol
Marguerite, elle est malade
Eliot Fisk, guitar
Nuria Orbea, soprano
Benjamin Britten (1913–1976)
Songs from the Chinese, Op. 58
(See text on p.26)
The Big Chariot
The Old Lute
The Autumn Wind
The Herd-Boy
Depression
Dance Song
Eliot Fisk, guitar
William Walton (1902–1983)
Anon. in Love
(See text on p.27)
Fain would I change that note
O stay, sweet love
Lady, when i behold the roses
My love in her attire
I gave her Cakes and I gave her Ale
To couple is a custom
INTERMISSION
Mark Cohen, actor
Scene from Richard II (II.2)
(See text on p.28)
Eliot Fisk, guitar
Fine Knacks for Ladies
Disdain me Still
Can She Excuse My Wrongs
In Darkness Let Me Dwell
Now o Now I needs must part
Come, Heavy Sleep
(See text on p.28)
Eliot Fisk, guitar
Benjamin Britten (1913–1976)
Nocturnal after John Dowland, Op. 70
Musingly
Very agitated
Restless
Uneasy
March-like
Dreaming
Gently rocking
Passacaglia
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Concert 6 Texts
Mátyás Seiber
4 French Folk Songs
1. Réveillez-vous
Wake up, my beautiful sleeper,
Wake up, because it’s daytime
Put your head out the window
You’ll hear us talking about you
The beautiful one put her foot on the floor,
and softly made her way;
with one hand she opened the door:
Come in, Galant one, if you love me
But the beauty fell asleep
in the arms of her lover
and he, watching her,
saw his dying eyes reflected in hers,
They told me, beautiful one,
that you had some apples,
some rennet apples
that are in your garden.
let me, beautiful one,
lay my hand on them
No, I will not let you
touch my apples.
First, take the moon
and the sun in your hand;
only then you will have the apples
that are in my garden.
4. Marguerite, elle est malade
Marguerite is ill,
she needs a doctor!
The doctor says in his visit
that wine is off limits!
Doctor, go to the Devil
as long as you keep wine from me!
I’ve drunk it all my life
I will drink it until the very end!
Oh, that the stars are brilliant
and the sun is blazing;
but the beautiful eyes of my mistress
are even more charming.
Songs from the Chinese
2. J’ai descendu
I went down to my garden
to pick rosemary
Sweet poppy, my ladies,
Sweet new poppy
The Big Chariot (The Book of Songs)
D’ont help on the big chariot
You will only make yourself dusty
D’ont think about the sorrows of the world
You will only make yourself wretched.
I hadn’t even picked three sprigs
when a nightingale flew to my hand
Sweet new poppy
You w’ont be able to see for dust
Or you will never escape from your despair.
You’ll be stifled with dust, be stifled with dust
You will only load yourself with care.
He said three words in Latin:
That men aren’t worth anything
Sweet new poppy
Benjamin Britten
That men aren’t worth anything,
and young men are worth even less
Sweet new poppy
The Old Lute (Po Chu-i)
Of cord and cassiawood is the lute compounded,
Within it lie ancient melodies
Ancient melodies weak and saivourless,
Not appealing to present men’s taste.
Of the ladies he didn’t tell me anything,
but of damsels he spoke very highly,
Sweet new poppy
Light and color are faded from the jade stops
Dust has covered the rose red strings.
Decay and ruin came to it long ago.
But the sound that is left is cold and clear
3. Rossignol
Nightingale of the woods,
Wild nightingale,
teach me your language,
teach me to speak,
teach me the way
to love, how to love
I do not refuse to play it
If you want me to
But even if I paly
People will not listen
How did it came to be neglected so?
Because of the Ch’ian flute and the zithern of Ch’in.
The Autumn Wind (Wu-ti)
Autumm wind rises
White clouds fly
Grass and tres wither;
Geese go south…
Orchids all in Bloom,
Chrysanthemums smell sweet….
I think of my lovely lady
I never can forget
The unicorn’s brow!
The duke’s kinsmen throng
Alas for the unicorn!
Floating pagoda boat
Crosses Fên River
Across the midstream
White waves rise
William Walton
Flute and drum keep time,
To sound of rowers’ song
Amidst revel and feasting
Sad thoughts come
Youth’s years how few,
Age how sure!
Age how sure,
Age, how…. sure!
The Herd-Boy (Lu Yu)
In the southern village,
the boy who minds the ox,
with his nacked feet
stands on the ox’s back.
Through the hole in his coat
The river wind blows
Through his broken hat
The mountain rain pours
On the long dyke
He seemed to be far away,
In the narrow lane
Suddenly we were face to face
The boy is home
And the o xis back in his stall,
And a dark smoke oozes
Through the thatched roof.
Depression (Po Chu-i)
Turned to jade
Are the boy’s rosy cheeks
To his sick temples
The frost of Winter clings
Do not wonder
That my body sinks to decay
Though my limbs are old,
My heart is older,
Older yet.
Dance Song (The Book of Songs)
The unicorn’s hoofs!
The duke’s sons throng
The unicorn’s horn!
The duke’s clansmen throng
Alas!
Anon. in Love
To which fond Love hath charm’d me
Long, long to sing by rote,
Fancying that that harm’d me:
Yet when this thought doth come
‘Love is the perfect sum
Of all delight!’
I have no other choice
Either for pen or voice
To sing or write.
O Love! they wrong thee much
That say thy fruit is bitter,
When thy rich fruit is such
As nothing can be sweeter.
Fair house of joy and bliss,
Where truest pleasure is,
I do adore thee:
I know thee what thou art,
I serve thee with my heart,
And fall before thee.
O stay, sweet love
O stay, sweet love; see here the place of sporting;
These gentle flowers smile sweetly to invite us,
And chirping birds are hitherward resorting,
Warbling sweet notes only to delight us:
Then stay, dear love, for, tho’ thou run from me,
Run ne’er so fast, run ne’er so fast, yet I will follow
thee.
I thought, my love, that I should overtake you;
Sweet heart, sit down under this shadow’d tree,
And I, I will promise never, never, to forsake you,
So you will grant to me a lover’s fee.
Whereat she smiled, and kindly to me said I never meant, I never meant, I never meant,
I never meant to live and die a maid,
I never meant to live and die a maid.
Lady, when I behold the roses sprouting
Lady, when I behold the roses sprouting,
Which clad in damask mantles deck the arbours,
And then behold your lips where sweet love harbours,
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My eyes present me with a double doubting;
For, viewing both alike, hardly my mind supposes
Whether the roses be your lips or your lips the roses.
My Love in her attire
My Love in her attire doth show her wit,
It doth so well become her:
For every season she hath dressings fit,
For winter, spring, and summer.
No beauty she doth miss
When all her robes are on:
But Beauty’s self, Beauty’s self she is
When all her robes are gone.
I gave her Cakes and I gave her Ale
I gave her Cakes and I gave her Ale,
I gave her Sack and Sherry;
I kissed her once and I kissed her twice,
And we were wondrous merry.
I gave her Beads and Bracelets fine,
I gave her Gold down derry.
I thought she was afear’d till she stroked my Beard
Merry my Hearts, merry my Cocks,
Merry merry merry my Sprights.
Merry merry merry my hey down derry.
I kissed her once and I kisssed her twice,
All things thereto agree.
Why should not I then love,
Since love to all is free?
But I’ll have one that’s pretty,
Her cheeks of scarlet dye,
For to breed my delight
When that I lig her by.
Tho’ virtue be a dowry,
Yet I’ll chuse money store:
If my love prove untrue,
With that I can get more.
The fair is oft unconstant,
The black is often proud,
I’ll chuse a lovely brown:
Come fiddler scrape thy crowd.
Come fiddler scrape thy crowd,
For Peggy the brown is she;
She must be my bride;
God guide that Peggy and I agree.
William Shakespeare
Scene from Richard II (II.2)
JOHN OF GAUNT
O, but they say the tongues of dying men
Enforce attention like deep harmony:
Where words are scarce, they are seldom spent in vain,
For they breathe truth that breathe their words in pain.
He that no more must say is listen’d more
Than they whom youth and ease have taught to glose;
More are men’s ends mark’d than their lives before:
The setting sun, and music at the close,
As the last taste of sweets, is sweetest last,
Writ in remembrance more than things long past:
Though Richard my life’s counsel would not hear,
My death’s sad tale may yet undeaf his ear.
John Dowland
Selected Songs
Fine knacks for ladies
Fine knacks for ladies, cheap, choice, brave and new,
Good pennyworths but money cannot move,
I keep a fair but for the fair to view,
A beggar may be liberal of love.
Though all my wares be trash, the heart is true.
Great gifts are guiles and look for gifts again,
My trifles come as treasures from my mind,
It is a precious jewel to be plain,
Sometimes in shell the Orient’s pearls we find.
Of others take a sheaf, of me a grain.
Within this pack pins, points, laces and gloves,
And divers toys fitting a country fair,
But in my heart, where duty serves and loves,
Turtles and twins, Court’s brood, a heav’nly pair.
Happy the man that thinks of no removes.
—Anonymous
Disdain me still
Disdain me still, that I may ever love,
For who his love enjoys can love, can love no more.
The war once past with ease men cowards prove:
And ships return’d do rot upon the shore.
And though thou frown, I’ll say thou art most fair, most
fair:
And still I’ll love, and still I’ll love, I’ll love,
though still, though still I must despair.
As heat to life, so is desire to love,
And these once quench’d, both life and love are gone,
are gone.
Let not my sighs nor tears thy virtue move,
Like baser metals do not melt too soon.
Laugh at my woes although I ever mourn, ever mourn.
Love surfeits, Love surfeits with rewards,
his nurse, is scorn, his nurse is scorn.
—William, Earl of Pembroke
Can She Excuse My Wrongs?
Can she excuse my wrongs with Virtue’s cloak?
Shall I call her good when she proves unkind?
Are those clear fires which vanish into smoke?
Must I praise the leaves where no fruit I find?
No, no; where shadows do for bodies stand,
That may’st be abus’d if thy sight be dim.
Cold love is like to words written on sand,
Or to bubbles which on the water swim.
Wilt thou be thus abused still,
Seeing that she will right thee never?
If thou canst not o’ercome her will,
Thy love will be thus fruitless ever.
Was I so base, that I might not aspire
Unto those high joys which she holds from me?
As they are high, so high is my desire,
If she this deny, what can granted be?
If she will yield to that which reason is,
It is reason’s will that love should be just.
Dear, make me happy still by granting this,
Or cut off delays if that I die must.
Better a thousand times to die
Than for to love thus still tormented:
Dear, but remember it was I
Who for thy sake did die contented.
—Anonymous
In darkness let me dwell
In darkness let me dwell, the ground shall sorrow be,
The roof despair to bar all cheerful light from me,
The walls of marble black that moist’ned still shall
weep,
My music hellish jarring sounds to banish friendly
sleep.
Thus wedded to my woes and bedded to my tomb
O, let me living die, till death do come.
—Anonymous
Now o now I needs must part
Now, oh now I needs must part,
Parting though I absent mourn.
Absence can no joy impart:
Joy once fled cannot return.
While I live I needs must love,
Love lives not when Hope is gone.
Now at last Despair doth prove,
Love divided loveth none.
Sad despair doth drive me hence;
This despair unkindness sends.
If that parting be offence,
It is she which then offends.
Dear when I from thee am gone,
Gone are all my joys at once,
I lov’d thee and thee alone,
In whose love I joyed once.
And although your sight I leave,
Sight wherein my joys do lie,
Till that death doth sense bereave,
Never shall affection die.
Dear, if I do not return,
Love and I shall die together.
For my absence never mourn
Whom you might have joyed ever;
Part we must though now I die,
Die I do to part with you.
Him despair doth cause to lie
Who both liv’d and dieth true.
—Anonymous
Come, heavy sleep
Come, heavy Sleep, the image of true Death,
And close up these my weary weeping eyes,
Whose spring of tears doth stop my vital breath,
And tears my heart with Sorrow’s sigh-swoll’n cries.
Come and possess my tired through-worn soul,
That living dies till thou on me be stole.
Come, shadow of my end and shape of rest,
Allied to Death, child to his joyless black-fac’d Night,
Come thou and charm these rebels in my breast,
Whose waking fancies doth my mind affright.
O come, sweet Sleep, or I die forever;
Come ere my last sleep comes, or come thou never.
—Anonymous
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Musicians and Festival Profiles
Photo by Jesse Weiner
Eliot Fisk Founder and Artistic Director
Oscar Ghiglia Special Guest
Guitarist Eliot Fisk is known worldwide as a charismatic performer
famed for his adventurous and virtuosic repertoire. He is also
celebrated for his willingness to take art music into unusual venues
(schools, senior centers, and even logging camps and prisons!).
After 45 years before the public he remains as his mentor Andres
Segovia once wrote, “at the top line of our artistic world.”
The repertoire of the classical guitar has been transformed
through Fisk’s transcriptions (including works by Bach, Scarlatti,
Haydn, Mozart, Paganini, Albeniz and many others); through
works dedicated to him by composers as varied as Luciano Berio,
Leonardo Balada, Robert Beaser, Nicholas Maw, George Rochberg,
Daniel Bernard Roumain, and Kurt Schwertsik; and through his
collaborations with musicians in classical, flamenco, jazz, and
world music styles.
Born of an artistic family—his father and grandfather both famed
painters, his mother an accomplished pianist—Oscar Ghiglia had to
choose between a path strewn with brushes and colors and a world
cut into harmony and melody. Though his early choice produced a
few hundred watercolors and a number of oil paintings, he soon
realized music was his way. For this decision he thanks his dad,
who one day made him pose for a painting showing a guitarist. For
this painting he had to hold his father’s guitar, a companion to his
artistic musings while forming works. This painting was the start to
a lifetime of disciplined dedication to music.
Eliot’s recordings have entered the Billboard charts as best sellers. Two solo CDs featuring
contemporary works written for and transcribed by Eliot Fisk were released to great acclaim in 2010
by Wildner Records. Upcoming releases include Amazing Grace with Richard Stoltzman (clarinet) and
2 additional CDs with Paco Peña (flamenco guitar) and cellist Yehuda Hanani.
In the 2012–2013 concert season, in addition to his regular concerto, recital, and chamber-music
appearances, Eliot Fisk performed on two continents in duo recital with jazz guitar great Bill Frisell.
Within a one-month period in 2013 he premiered songs for cello, voice, and guitar by Robert Beaser;
a new arrangement for 2 guitars and orchestra of William Bolcom’s Graceful Ghost Rag by Payton
McDonald; and Ralf Gawlick’s mammoth tribute to German artist Kaethe Kollwitz, Kollwitz Kodex,
for soprano and guitar. The latter was premiered in the US at Boston College and in Germany at the
Kollwitz Museum in Cologne.
Other recent landmark premieres have included Robert Beaser’s Guitar Concerto (with Dennis Russell
Davies at Zankel Hall in New York City), Eliot’s transcription for solo guitar of John Corigliano’s Red
Violin Caprices, and the epic solo suite Ein Kleines Requiem dedicated to him by Austrian composer
Kurt Schwertsik.
Eliot Fisk was the last direct pupil of Andres Segovia and also studied interpretation with the
legendary harpsichordist Ralph Kirkpatrick at Yale University, from which he graduated summa
cum laude in 1976. Described by one New York Times headline as a “Fiery Missionary to the
Unconverted,” Eliot Fisk is professor at the Universität Mozarteum in Salzburg, Austria, where he
teaches in 5 languages, and in Boston at the New England Conservatory. In June of 2006, King Juan
Carlos of Spain awarded Eliot the “Cruz de Isabel la Catolica” for his service to the cause of Spanish
music. Earlier recipients of this honor included Andres Segovia and Yehudi Menuhin.
Eliot Fisk is Founder and Artistic Director of Boston GuitarFest (www.bostonguitarfest.org) an annual
cross-disciplinary and cross-cultural extravaganza co-sponsored by the New England Conservatory
and Northeastern University and now in its 8th consecutive year.
More information at www.eliotfisk.com.
After graduating from Santa Cecilia’s Conservatory of Rome, O.G.
began an apprenticeship beside the great Master Andres Segovia,
who was his major influence and inspiration during his formative
years. Later O.G. “inherited” Segovia’s glorious Class in Siena’s Accademia Chigiana and spread his
own teaching around five continents in a sister vocation to his concertizing.
O.G. is proud of having founded such strongholds of guitar teaching as the Guitar Department at
the Aspen Music Festival (Colorado, USA) as well as in the Festival de Musique des Arcs and the
Incontri Chitarristici di Gargnano, of which he was artist in residence. He has been visiting professor in such centers as the Cincinnati and San Francisco Conservatories, Juilliard, the Hartt School,
and Northwestern University in Evanston, Illinois. In all these centers and elsewhere, Ghiglia has
been nurturing talents and forming or perfecting young artists’ musical outlook and interpretation. Composers such as Giampaolo Bracali and Franco Donatoni, among others, have written and
dedicated important works for Oscar Ghiglia. Besides touring as a solo performer, O.G. has played
and recorded with singers Victoria de Los Angeles, Jan de Gaetani, Gerald English, and John McCollum; flutists Jean-Pierre Rampal and Julius Baker; ensembles such as the Juilliard String Quartet,
the Emerson String Quartet, the Cleveland String Quartet, the Quartetto d’archi di Venezia, and the
Tokyo String Quartet; violinists Giuliano Carmignola, Franco Gulli, Salvatore Accardo, Regis Pasquier;
violists Bruno Giuranna and Pinchas Zuckerman; cellists K. Adam, Albert Roman, Lászlo Varga; and
guitarists Eliot Fisk, Shin-ichi Fukuda, L. Guerra, Antigoni Goni, and Elena Papandreou.
O.G. was a founding member of the the International Classic Guitar Quartet (with, in different turns,
Benjamin Bunch, O. Koga, Anders Miolin, S. Schmidt, Andreas v. Wangenheim), Presently, after his
last CD, Manuel Ponce’s Guitar Music, the Stradivarius label has issued a new CD including some of
the most important lute works of J. S. Bach.
Retired from the Basel Music Academy (Switzerland), where he held the professorship in guitar
from 1983 until 2005, his teaching continues in the summer at the Accademia Chigiana in Siena, in
Gargnano, and during the year in Athens, to a select group of pupils flocking in periodically from the
four corners of Europe.
In March 2008 a selected group of his former students celebrated Oscar Ghiglia’s seventieth
birthday in a festival held in the Mannes School of music of New York—including concerts, lectures,
and master classes—called “The Ghiglia Legacy.” An analogous celebration took place in 2009 in
Ithaca, New York. Besides having started the guitar program at the Aspen Music Festival, Ghiglia was
founder (1976) of the International Guitar Competition of Gargnano, Italy. O.G. boasts a very high
number of first-prize winners among his students in competitions around the world.
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Musicians and Festival Profiles continued
Robert Bekkers Guitar, Production Manager
Robert Bekkers has been performing and teaching classical guitar
for more than 15 years. He earned a teacher’s certificate (bachelors)
and performer’s certificate (masters) at the Conservatorium van
Maastricht (Netherlands). During this study he also resided in Italy
where he was a student of Angelo Gilardino. Recently he has come
to Boston, where he is enrolled in the DMA program at the New
England Conservatory and has the unique opportunity to work with
Eliot Fisk. Robert has also participated in master classes given by
many internationally renowned artists including Pepe Romero, David
Russell, Abel Carlevaro, and Alexander Frauchi. Robert performs
regularly as a soloist and in collaboration with piano, violin, flute, or
voice in programs ranging from classical opera arias to contemporary
compositions dedicated to his piano-guitar duo.
Boston Guitar Orchestra
The Boston Guitar Orchestra (BGO) is a communitybased amateur ensemble that is committed to the
promotion of the arts in the New England area
through the performance and creation of works
for guitar ensemble, while building an inclusive
community of participants and audiences. Its
members range in all levels, styles, and ages. With
multiple players per part, the diverse mosaic of
dynamic, color, timbre, and other various percussive
effects that can be created can rival most symphony orchestras. Formed in 2009, the BGO garnered
praise from the Boston Guitar community and is now a centerpiece of the Boston Classical Guitar
Society, providing a unique opportunity for guitar enthusiasts to become active participants in
guitar-related activities rather than just spectators.
Bryan Burns Guitar
Scott Borg Guitar, Boston Guitar Orchestra Director
Australian guitarist Scott Borg has been praised as a daring and
innovative artist with “enormous facility on the guitar, a fluent
technique, who plays with total confidence and professional
expertise, panache and artful spontaneity.” New York Concert Review
described his Carnegie Hall Debut as “gracefully presented, and
expertly played…each note was purposeful and focused, as was each
was rest.” His performances have been broadcasted on Australian
and American public radio stations, including a 2006 internationally
televised address of Chinese president Hu Jintao to the United
States. Currently a candidate in the doctoral program at NEC under
the tutelage of Maestro Eliot Fisk, Borg previously received degrees
from Yale University and the Juilliard School. He is currently on
faculty at the Levine School of Music in Washington DC.
Bryan began studying the guitar at the relatively late age of
nineteen. His artistic development was guided by several important
guitarists including Matteo Mela and Lorenzo Micheli. In 2009,
Bryan began postgraduate work with renowned guitarist Eliot Fisk,
specifically focusing on Baroque transcription. Bryan holds two
music degrees from the University of North Texas (BM 2008 and
MM 2009) as well as an Artistic Graduate Diploma from the New
England Conservatory (2011). He is currently a teaching fellow at
the University of North Texas where he is completing a DMA in
musicology and classical guitar performance. Most recently, Mr.
Burns founded the UNT Guitar Collegium and cofounded the North
Texas Guitar Academy, serving as its artistic director. He is currently
writing two method books focused on solfeggio and technique.
Ciraldo Duo Guitar and Flute
Candice Brown Actor
Candice Brown earned her BA from New Mexico State University and
her MFA from University of Pittsburgh. Among her most favorite stage
performances are as the mother in the world premiere and Pulitzer
Prize-nominated play Nocturne by Adam Rapp; Phoebe in As You Like
It; Katherine in Love’s Labour’s Lost; Ophelia in Ophelia, a Japanese
Noh adaptation; and Hero in Much Ado About Nothing. Brown earned
her tenure in the BFA acting and musical theatre departments of
SUNY Fredonia in 1999. She then moved to Boston to teach at
Brandeis University in the MFA actor training program. Brown served
as head of the voice and movement division at Wheaton College from
2001 to 2003 and joined the theater faculty of the Boston Conservatory in fall 2004.
The Ciraldo Duo has merged a pair of musical talents—Nicholas
Ciraldo and Rachel Taratoot Ciraldo—to form a distinctive and
colorful ensemble. They have trained with flutist Thomas Robertello; guitarists David Leisner, Eliot Fisk, and Adam Holzman;
clarinetist Ethan Sloane; pianist Edward Auer; and the Shanghai
String Quartet. The duo performed at the Hampden-Sydney Music
Festival, the Boston Flute Association Flute Fair, the Simsbury
Chamber Music Festival, the Boston Classical Guitar Society Guitar
Festival, and the National Flute Association Annual Convention. The
duo pursues improvement of music education and community by
collaborating with organizations such as Community Partnerships
Program of the Saint Louis Symphony Orchestra and the Austin
Classical Guitar Society’s Educational Outreach Program. Presently,
Rachel and Nicholas reside in Hattiesburg, Mississippi.
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Nicholas Ciraldo Guitar
Mark Cohen Actor
Praised as “an exceptionally musical and accomplished guitarist,”
Nicholas Ciraldo is a leader among his generation of American
classical guitarists. Dr. Ciraldo has enjoyed numerous solo,
chamber, and concerto performances throughout the United States,
South America, and Europe, from Boston’s Jordan Hall to Berlin’s
Berliner Dom to Brazil’s Teatro José Maria Santos. Ciraldo holds a
BM degree from Indiana University, where he studied with Ernesto
Bitetti and Luis Zea. He also holds an MM from the New England
Conservatory of Music, where he studied with David Leisner and
Eliot Fisk. He holds a DMA degree from the University of Texas at
Austin, where he studied with Adam Holzman and received the
Freeman Fellowship. His debut CD was released in early 2011.
Nicholas is assistant professor of guitar at the University of
Southern Mississippi.
Mark Cohen (BU) holds an MFA from the Academy for Classical
Acting at The Shakespeare Theatre, George Washington University;
an MA from Brown University (Theatre); and a BA from Yale
University (English). Mark studied extensively at the Guildhall
School of Music and Drama in London, and completed a two-year
training program in the Meisner Technique in New York. He is
creator and artistic director of The TheatreBridge Company, under
the dual sponsorship of Brown and Trinity Repertory Theatre. He
serves as artistic director for TheatreBridge and as an artistic
associate for other companies. Mark has directed, among other
projects, Angels in America, Cymbeline, and Twelfth Night, while
teaching at Rhode Island School of Design, Wake Forest University,
Mercy College, and Emerson College.
Rachel Taratoot Ciraldo Flute
Anthony Paul De Ritis Composition Competition Judge,
Chair of Northeastern University’s Department of Music
Rachel Taratoot Ciraldo is principal flutist of the Baton Rouge
Symphony Orchestra and a freelance performer and teacher in the
Gulf Coast region. She is first prize winner of the James Pappoutsakis, Flute Festival Mid-South, and Byron Hester Competitions, and
she won third prize and the Award for the Best Performance of the
Newly Commissioned Work in the National Flute Association’s
Young Artist Competition. Ms. Ciraldo earned a bachelor of music
degree from Indiana University, where she studied with Thomas
Robertello and Jacques Zoon. She earned a master of music degree
from Boston University, where she studied with Marianne Gedigian.
She has also studied extensively with Jill Felber and Amy Porter.
Composer Anthony Paul De Ritis’ music has been called “infectious,” “persuasive,” and “really cool.” His compositions have
been performed throughout Europe, North America, and Asia,
including the San Diego, Oakland, and New Haven symphonies,
the Baltimore Chamber Orchestra, BMOP, and the Taipei Chinese
Orchestra. In 2007 De Ritis composed Melody for Peace for Western
orchestra and orchestra of non-Western indigenous instruments.
Commissioned by the Melody for Dialogue Among Civilizations Association, this work was premiered by the Prague Philharmonic at
UNESCO headquarters in Paris and then reprised by the Orchestra
of St. Lukes at Lincoln Center. Chair of the Music Department at
Northeastern University, De Ritis completed his PhD in Music
Composition at the University of California, Berkeley, and his MBA
in high-tech at Northeastern University.
Joaquín Clerch Guitar, Competition Judge
Cuban guitarist Joaquín Clerch first studied guitar, music, and
composition in Havana, graduating from the Art University of
Havana in 1989. In 1990, Joaquín Clerch continued his studies at the
Mozarteum University in Salzburg, Austria, with Eliot Fisk, and early
music with Anthony Spiri and Nikolaus Harnoncourt. Joaquín Clerch
has won competitions such as the Andres Segovia competition in
Granada, the Heitor Villa-Lobos competition in Rio de Janeiro, and
Printemps de la Guitare in Brussels. With the Orquesta Filarmónica
de Gran Canaria he made the world premiere recording of two guitar
concertos dedicated to him by Leo Brouwer (Concierto de la
Habana, 1998) and Carlos Fariñas (Concierto, 1996), both also
teachers of Joaquín Clerch. Since 1999, Clerch has held a professorship of guitar at the Robert Schumann University in Düsseldorf.
Alexander Dunn Guitar, Composition Competition Judge
Canadian classical guitarist Alexander Dunn has performed in
Canada, the USA, Cuba, New Zealand, Mexico, Brasil, Asia, China,
South Africa, Europe, and Russia. Recent chamber music and
recital performances include work with principal players from the
Pacific Baroque Orchestra, Seattle Baroque Orchestra, Tafelmusik;
in duo with guitarists Pepe Romero, David Tanenbaum, tenor
Benjamin Butterfield, and many more. Mr. Dunn holds a master’s
Degree in Performance from the San Francisco Conservatory of
Music and a PhD in musicology from the University of California,
San Diego, where he was a protégé of Pepe Romero; his extensive
summer studies were at the Aspen Music Festival and the Salzburg
Mozarteum. He is an examiner for the Royal Conservatory Toronto
and currently heads what is considered one of Canada’s top guitar
programs at the University of Victoria and the Victoria Conservatory
of Music.
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El Mundo
El Mundo is a chamber group dedicated to the
performance of sixteenth- through nineteenthcentury Latin American, Spanish, and Italian
chamber music. Made up of some of the finest
period instrument performers, El Mundo combines
bowed strings with the rarely heard accompaniment
forces of mixed guitars, lutes, and percussion, in a
setting that recreates the distinctive Latin sound of
the old and new world. With their flexible
instrumentation, El Mundo is adaptable to meet the changing needs of this diverse repertory with
the appropriate flair and affect. With the addition of the wonderful singers such as Jennifer Ellis
Kampani, and Nell Snaidas, El Mundo also performs exciting of cantatas, zarzuelas, romances,
villancicos, and tonos humanos that range from sublimely sensual to lighthearted and folklike.
Elise Groves Soprano
Elise Groves, soprano, is an early music specialist based in the
Boston metro area. A dedicated and versatile chamber musician,
Elise is equally at home in the chant repertoire of Hildegard von
Bingen, Dowland lute songs, and Bach cantatas, and especially
enjoys performing repertoire off the beaten path. Elise is a
chorister and cantor with the Choir of the Church of the Advent
and has performed with Seven Times Salt, Meravelha, Exultemus/
Newton Baroque, The Broken Consort, Grand Canonical Ensemble,
and with many other chamber ensembles in the Boston, MA and
Portland, OR areas. A native Oregonian, she received a BA and
MA in music education from Oregon State University and an MM
in early music performance from the Longy School of Music. www.
elisegroves.com
Raquel Fisk Piano
Robert Hanson Guitar, Administrative Director
Music has always been a basic fact of life for 12-year-old pianist
Raquel Fisk. At the same time that she began to play the piano (at
the age of 4) she also became acquainted with numerous operas
beginning with Mozart’s Zauberfloete, most of which she could
soon sing by ear. Raquel has studied with Valentina Lass at NEC
and more recently with the eminent pedagogue Niva Fried. In
addition to classical music Raquel enjoys flamenco dancing,
swimming, running track, and various foreign languages (Spanish,
French, and German). She was recently selected to perform solo at
Carnegie Hall’s Weill Hall in New York. Among other upcoming
performances, she will play works by Bach and Mendelssohn as
part of a gala celebration and benefit concert for the famous
Bethlehem Bach Festival later this year.
Robert Hanson has earned a master of music degree at the New
England Conservatory under the tutelage of Maestro Eliot Fisk. He
did his undergraduate work at the Peabody Institute of the Johns
Hopkins University where he studied under the guidance of Julian
Gray, and has performed for and studied with Sharon Isbin of the
Juilliard School while at the Aspen Music Festival. He has also
performed in master classes with Roger Tapping, Benjamin Verdery,
Eduardo Fernandez, Lukasz Kuropaczewski, and Franco Platino.
Robert is an active performer throughout the East Coast. He has
appeared in a variety of venues including the Ellington Theater as a
concerto soloist and the Kennedy Center for the Performing Arts.
John Gibbons Harpsichord
Liz Hayes Actor, Shakespeare Director
The American harpsichordist John Gibbons has received the Erwin
Bodky Prize (1969), the NEC Chadwick Medal (1967), and a Fulbright
Scholarship for study with Gustav Leonhardt in Amsterdam.
John Gibbons is a distinguished keyboard artist and member of
the Boston Museum Trio. He has performed as harpsichord and
fortepiano soloist with major ensembles in the US and Europe,
among them the Chamber Music Society of Lincoln Center, the
New York Chamber Symphony, the Orchestra of the 18th Century,
Philharmonia Baroque, and the Da Camera Society of Houston. He
performs regularly at such festivals as those in Torino and Spoleto,
Italy; Chamber Music Northwest; and the Aston Magna Festival in
the Berkshires. John Gibbons teaches historical performance and
chamber music at New England Conservatory, where he also directs
the Bach Ensemble.
Liz Hayes has appeared onstage with many Boston-area companies
including the Lyric Stage, SpeakEasy Stage, Stoneham Theater,
Underground Railway, Gloucester Stage, Boston Playwrights, Orfeo
Group (founding artist) and New Repertory Theatre. She has been
nominated for two Elliot Norton Awards and is a proud member of
Actors’ Equity and SAG. Liz is also a dialect/accent coach for
several companies and institutions including Emerson College,
Whistler in the Dark, Underground Railway, and the Huntington
Theatre Company. She is a graduate of Brown University and
received her MFA from the Shakespeare Theatre’s Academy for
Classical Acting. Liz teaches Shakespeare at the Walnut Hill School
and is a member of the voice and speech faculty at Boston
Conservatory.
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Bruce Holzman Competition Judge
Stefan Koim Guitar
Holzman’s students have won many prestigious prizes in
competitions worldwide, including Guitar Foundation of America
Solo/Duo Competition, the Concours Internationale de Guitare of
Paris, France, and the Incontri Chitarristici de Gargnano, Italy. Many
of his students hold teaching positions at prominent Universities,
Colleges and High Schools. Professor Holzman has been on the
Artists’ Faculties of The Iserlohn International Guitar Symposium,
Germany; Domaine Forget Academie of Music and Dance, Quebec,
Canada; National Guitar Summer Workshop, New York Guitar
Seminar at Mannes; Boston GuitarFest; and Toronto Guitarfest.
He has also been an adjudicator for the guitar competitions
throughout the world. Bruce Holzman was awarded a special Lifetime
Achievement award at the Fifth New York Guitar Seminar at Mannes
held in his honor, “El Maestro/Tradition of the Masters.”
Stefan Koim, born in 1986 in Hamm Westphalia, Germany, began a
double music studies program (Music Education and Performance)
at the Hochschule für Musik in Köln with Hubert Käppel in 2006. He
studied at the Mozarteum in Salzburg from 2009 to 2010 in the
class of professor Eliot Fisk. In 2011 he completed his studies in
Cologne with two diplomas and in Salzburg with a BA degree.
Fulbright and Rotary scholarships enabled him to study at NEC in
Boston in 2011; he completed his master’s degree in Salzburg in
2013. Koim’s concert tours have taken him to Russia, Italy,
Switzerland, Austria, and the USA. In the summer of 2013 his debut
CD Royal releases, featuring works by Henze, Britten, and Dowland.
Chad Ibison Guitar, 2012 Performance Competition Winner
Tessa Lark Violin
Chad Ibison is gaining attention throughout the United States as
an emerging artist of great virtuosity. He has distinguished himself
in many competitions, including first place at the 2010 A&M Guitar
Symposium, the 2009 CSU Guitar Symposium, and the 2009 ECU
Guitar Workshop Competition. In June of 2008, Chad performed as
a semifinalist in the JoAnn Falletta International Guitar Concerto
Competition. In 2007, Mr. Ibison was a semifinalist in the prestigious
Guitar Foundation of America International Competition, and was
selected as a concerto soloist with the CSU Philharmonic Orchestra.
In 2010, Chad Ibison graduated with honors at Columbus State
University under the tutelage of Dr. Andrew Zohn. Currently, Mr.
Ibison is pursuing graduate studies at the University of Texas at
Austin in guitar performance with professor Adam Holzman.
Winner of the 2012 Naumburg Violin Competition, Tessa Lark is
quickly establishing herself internationally as “a formidable artistic
voice.” She has won many awards including first prize at both the
Irving Klein and Johansen international string competitions. An
avid chamber musician, Tessa Lark has performed at such summer
festivals as the Steans Institute at Ravinia, Yellow Barn, and
Music@Menlo. A native of Kentucky, Tessa also enjoys playing
bluegrass and Appalachian music in recital. Ms. Lark completed
her master’s degree in 2012 at the New England Conservatory
under the tutelage of Miriam Fried and Lucy Chapman. Her
previous teachers include Cathy McGlasson and Kurt Sassmannshaus. Tessa plays a Tononi violin, made in 1675, on generous
loan to her from the Ravinia Festival.
Stefano Kotsonis Roundtable Moderator
Adam Levin Guitar, Youth Guitarists Workshop Coordinator
Stefano began his career in broadcasting on the PBS current affairs
program, The Kwitny Report, which was awarded the George Polk
Award for Television Investigative Journalism. He moved overseas in
1989 to work as a freelance reporter and producer for the CBC, The
European, USA Today, BBC, and others. He was named Amman
Bureau Chief for CNN in 1991. He reported from the Caucasus, Middle
East, Europe, and Africa, covering the Gulf War, Mideast Peace
Process, the wars of Yugoslavia and the Somali famine. After
returning to the United States in 1996, he reported for Reuters TV and
produced TV documentaries, among them PBS’s “Islam: Empire Of
Faith.” Since 2001, Stefano has worked in public radio, on WBUR’s
Here & Now and On Point. Stefano first started playing guitar at 12,
when he saw an older boy command the attention of all the girls at a
wedding reception. The miracle is that he doesn’t play better after so
many years of faithful love for the instrument.
Adam Levin has been praised by renowned American guitarist
Eliot Fisk as a “virtuoso guitarist and a true twenty-first-century
renaissance man with the élan, intelligence, charm, tenacity, and
conviction to change the world.” The recipient of numerous top
prizes, Adam Levin has been recognized by the Society of American
Musicians, the Lake Forest Concerto Competition, Minnesota’s
Schubert Competition, Boston GuitarFest, Concurso Internacional
de les Corts para Jóvenes Intérpretes in Barcelona, Concurso
Internazionale Di Gargnano, and Certamen Internacional Luys
Milan de Guitarra in Valencia. Levin has performed with orchestra,
string quartet, and various duo combinations. His debut record,
In the Beginning, was lauded as “absolutely thrilling…will dazzle
and entertain at every possible opportunity” by Minor 7th Acoustic
Guitar Music Reviews. www.adamlevinguitar.com
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Enric Madriguera Composition Competition Judge
Jennifer McNeil Administrative Coordinator
Enric Madriguera is in demand as a recording artist, performer,
and teacher. He has appeared at the International Guitar Festival
Rust in Austria, the Chamber Art Festival in Madrid and the Ramon
Noble Guitar Festival in Mexico. Since forming a guitar duo in 1996,
Madriguera and his wife, Sabine Rabe, have performed in festivals
in the Americas and Europe. Madriguera is a cofounder and artistic
director for the Texas Guitar Competition and Festival, and the
Guitar Series at UT Dallas. He is a past advisory chair for the Dallas
Classic Guitar Society and a current advisory member to the Allegro
Guitar Society. Madriguera earned a master’s degree in humanities
in 1984 and a PhD in humanities in 1993, both from UT Dallas.
A native of Knoxville, Tennessee, Jennifer McNeil began playing
guitar at the age of twelve under the tutelage of Lawrence Long.
She continued her studies at Vanderbilt University, where she
studied with John Johns (BM, 2006). She then spent five years in
book publishing, acting as senior editor of nonfiction books at
Thomas Nelson Publishers in Nashville. In 2011, Jennifer relocated
to Boston’s New England Conservatory to pursue a master’s
degree in guitar with Eliot Fisk, where she graduated with honors
in 2013. She is the winner of a 2013 Belgian American Educational
Foundation Fellowship, and will soon be relocating to Brussels
to continue her musical studies. Alongside her life in guitar, she
works as a freelance editor and writer for publishing houses,
educational institutions, and journals.
Alexandra Manick Actor
Zaira Meneses Guitar, YGW Coord., Emerging Artist Curator
Alexandra Manick holds a bachelor’s degree in materials science
and engineering with a humanities concentration in theater arts
from MIT. As a student she was an active member of both the MIT
Shakespeare Ensemble and Dramashop, and studied under
professors Alan Brody and Janet Sonenberg. Past roles include
Gwendolen Fairfax, The Importance of Being Earnest; The Leading
Lady, Six Characters in Search of an Author; Dame Dorothy Browne,
Hydriotaphia; Lady Macduff, Macbeth; and Ariel, The Tempest. In
addition to acting in the greater Boston area, she is pursuing a
career as an engineer for Bedford MA solar energy start-up, 1366
Technologies.
Zaira Meneses’ musicality and charisma have delighted audiences
on three continents. A native of Xalapa, Mexico, she came to the
USA in 2001, where she has built a stellar reputation for her warm
sound, limpid technique, and superb natural musicality while
performing in many of the great concert halls of the world,
including Boston’s Jordan Hall, New York City’s YMHA, Alice Tully
Hall Lincoln Center and Salzburg’s Wiener Saal. She is Artistic
Director of the new cross-disciplinary cultural initiative “Guitar and
Friends,” for which she was awarded a special grant by the Albert
Augustine Foundation. Her recent CD Latina became an internet
sensation and sold out completely. A new edition of Latina with an
expanded program booklet will be released soon at www.
zairameneses.com.
Lautaro Mantilla Guitar
Nigel North Lute
Lautaro Mantilla is a guitarist, composer, and improviser from
Bogota, Colombia. He has a BA in classical guitar from the
Pontificia Universidad Javeriana (Colombia) where he studied with
classical guitarist Carlos Posada, and an MM with academic honors
in contemporary improvisation from the New England Conservatory
of Music, where he studied with classical guitarist Eliot Fisk,
guitarist and improviser Joe Morris, and composer and improviser
Anthony Coleman. He has performed in venues such as Harvard
University, MIT, the New England Conservatory, the Teatro Colon,
Teatro Jorge Eliecer Gaitan, Biblioteca Luis Angel Arango, among
others in the US and South America. He is currently a candidate for
a graduate diploma at NEC, where he is studying with John Mallia
and Carla Kihlstedt.
Nigel North studied classical music through the violin and guitar,
eventually discovering the lute when he was 15. Basically self
taught, he has developed a unique musical life as a teacher,
accompanist, soloist, director and writer. For over 20 years he was
Professor of Lute at the Guildhall School of Music and Drama, in
London; from 1993 to 1999 he was Professor at the Hochschule der
Künste, Berlin; 2005 to 2207 he was Lute Professor at the Royal
Conservatory in Den Haag , Netherlands, and since January 1999
Nigel North has been Professor of Lute at the Early Music Institute,
Indiana University. Recent recording projects have included, Robert
Dowland’s “A Musical Banquet” with soprano, Monika Mauch, for
ECM (2008), Lute Songs with tenor Charles Daniels for ATMA (2007)
and the Lute Music of Robert Johnson for Naxos (2010).
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Nuria Orbea Soprano
Apostolos Paraskevas Composition Competition Judge
Nuria Orbea was born in Bilbao (Spain), where she began her music
education at the Music Conservatory, graduating in Lied and
Oratory at the Mozarteum University in Salzburg, under the
guidance of Mitsuko Shirai, Hartmut Höll and Gudrun Volkert. She
sung Madame Butterfly (Cugina) at the Chimgau Musikfestival
(Germany); and in Bilbao Opera House Rigoletto (Giovanna),
Dialogues des Carmelites (Sour Mathilde), La Bella Addormentata
(Regina), Elektra (Aufseherin), Ines (Trovatore), Imelda (Battaglia di
Legnano) and Elena (Aroldo). Orbea is an celebrated artist in the
field of lied and oratorio, and a regular guest in concert halls
worldwide. She has recorded under the labels Verso and Capella,
and her concerts have been recorded and broadcasted by the
Catalan Radio, Spanish National Radio, and France Mezzo
Television.
Apostolos Paraskevas is a Grammy-nominated composer/
guitarist and recently an award winning Film Director/Producer.
Classical Guitar Magazine (London) acknowledged him as the
only guitarists ever to have a major orchestral piece performed
at New York’s Carnegie Hall, and by the international press as
the only musician who performed there in a Grim Reaper’s outfit!
Dr. Paraskevas, a Lukas Foss protégé, has been for decades a
multi-published recording artist. He received five First Prizes in
International Composition Competitions and is the founder and
Artistic Director of the International Guitar Congress/Corfu/Greece.
He is an Associate Professor of Composition at Berklee College of
Music and is included in the State of the Axe publication by famous
photographer Ralph Gibson as one of 80 most innovative living
guitarists.
Tami Papagiannopoulos Soprano
Nicholas Phan Tenor
Soprano Tami Papagiannopoulos is pursuing an MM degree in
Vocal Performance from New England Conservatory where she
studies with Lisa Saffer. Tami began her voice studies six years
ago at SUNY Schenectady County Community College where she
received an AS in music performance. Continuing her studies at
SUNY Fredonia, she received a BM in music performance and
studied with Patricia Corron. In her most recent performance, she
sang the role of Miles in Benjamin Britten’s The Turn of the Screw at
NEC under the baton of Douglas Kinney Frost. Past operatic scene
work includes Humperdinck’s Hansel and Gretel, Mozart’s Le Nozze
di Figaro, and Rossini’s Il Barbiere di Siviglia. She has performed in
master classes with Susanne Mentzer, Donna Loewy, and Stephen
Swanson.
Named one of NPR’s Favorite New Artists of 2011, Nicholas Phan
appeared in concert this season with the New York Philharmonic,
Cleveland Orchestra, Philadelphia Orchestra, San Francisco
Symphony, Cincinnati Symphony, the Los Angeles Chamber
Orchestra and at the Bolshoi. Mr. Phan’s two albums of all
Benjamin Britten music, Winter Words and Still Falls the Rain (AVIE)
were both released to critical acclaim, and his growing discography
also includes the Grammy-nominated recording of Stravinksy’s
Pulcinella, with Pierre Boulez and the Chicago Symphony Orchestra
(CSO Resound). He is a graduate of the University of Michigan, the
Manhattan School of Music, and the Aspen Music Festival and
School, and is an alumnus of the Houston Grand Opera Studio and
the Glimmerglass Opera Young American Artists Program.
Elena Papandreou Competition Judge
Will Prapestis Baritone
Elena Papandreou (b. 1966) studied the guitar with Evangelos
Boudounis at the National Conservatory in Athens and with Gordon
Crosskey at the Royal Northern College of Music, England. She
has been first-prize winner in three international competitions:
Maria Callas (Greece), Gargnano (Italy), Alessandria (Italy) and the
second-prize winner of the Guitar Foundation of America Competition. Papandreou now teaches at the University of Macedonia
in Thessaloniki and at the National Conservatory in Athens. Leo
Brouwer said about her, “If you want to hear music of the highest
level of interpretation with poetical perfection you must hear Elena
Papandreou.” The Washington Post called her “a poet of the guitar”
and the Greek newspaper Ta Nea called her “one of the greatest interpreters [...] the critic becomes silent … when the Music begins.”
www.elenapapandreou.gr
Will Prapestis performs frequently as a soloist and ensemble
member throughout New England. He recently made his professional opera debut with Helios Opera as Indamoro in Cavalli’s
Artemisia. Will has performed a number of operatic roles, including
Marcello in Puccini’s La Bohème, Papageno in Mozart’s Magic Flute,
and Father in Humperdinck’s Hansel and Gretel with the Hillman
Opera, as well as the eponymous role in Mozart’s Don Giovanni.
Will is also a bass player in the Boston and New York City pop music
scenes, performing with as many as five bands as a bass guitarist,
vocalist and arranger, and session artist. He is a native of Elmira,
NY and he earned his BM in Music Performance at SUNY Fredonia.
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Robert Price Electric Guitar
William Riley Young Guitarists Workshop Coordinator
Rob Price is from Massachusetts and has been encouraged by
his family to study and to play music his whole life. A classically
trained violinist (who also dabbled in viola and piano), he switched
to guitar after moving to New York City in 1990. He has played in
numerous experimental and improvised music ensembles and
was a founding member of the avant-rock band Dim Sum Clip Job,
which recorded an album for John Zorn’s Avant label. Recently Price
has been releasing recordings of his music, both composed and
improvised, on his own Gutbrain Records label. He has performed
at the What Is Jazz? Festival and the Boise Experimental Music
Festival and plays regularly in the New York City area.
Currently a lecturer and the director of classical guitar studies at
the University of Massachusetts Dartmouth, William Riley also
teaches at NEC’s Preparatory School and directs the Childbloom
Guitar Program of Boston. Riley has won top prizes and been a
finalist and semifinalist in several national and international solo
competitions, including the ECU, Portland, and GFA International
Competitions. He is active as a teacher, soloist, camber musician,
and adjudicator. In 2010 he joined the board of directors for the
Boston Classical Guitar Society, where he serves as newsletter
editor. Riley holds a BM degree (cum laude) from The University of
Texas at Austin, studying under Adam Holzman, and an MM (with
honors) from New England Conservatory, where he studied with
Eliot Fisk.
Fiel Sahir Festival Assistant
Richard Savino Competition Judge
Fiel Sahir began studying the classical guitar from an early age
under the instruction of his father, Rene Sahir. He is currently a
guitar student at the New England Conservatory of Music under the
esteemed guitar virtuoso Eliot Fisk. He has performed in a master
class for Oscar Ghiglia and studied with Zaira Meneses and Bruce
Holzman. On YouTube, where he is known as Lifeisguitar, he has
recorded various pieces from classical guitar repertoire to the
Beatles, and continues to show the versatility of the guitar to his
friends, family, and the world. He is also a polyglot and language
enthusiast, speaking Indonesian, English, French, and Spanish,
and is currently tackling Mandarin on his spare time. Richard Savino’s performances and recordings have been praised
by critics throughout the world. As a continuo player and accompanist, Mr. Savino has worked with some of the world’s most important performers and is a principal performer with major orchestras
and opera companies across the US. From 1986 to 1998 Mr. Savino
directed the CSU Summer Arts Guitar and Lute Institute. Presently
he is director of the ensemble El Mundo, and in 1995 and 2005 he
was Visiting Artistic Director of the NEH sponsored Aston Magna
Academy and Music Festival at Rutgers University. He is faculty at
San Francisco Conservatory of Music and at CSU Sacramento where
he has been the only music professor to receive “outstanding and
exceptional” and “best” sabbatical awards. Mr. Savino’s instructors have included Andres Segovia, Oscar Ghiglia, Eliot Fisk, Albert
Fuller, and Jerry Willard. He received his doctorate from SUNY at
Stony Brook.
Alejandro Simoes Actor
Boston credits include Recent Tragic Events, Aunt Dan and Lemon
(Whistler in the Dark); Hideous Progeny, Melancholy Play (Holland
Productions); Paperbag Princess, Shh! (New Exhibition Room);
Travesties, Romeo & Juliet, Misalliance (The Publick Theatre); Titus
Andronicus (Actors’ Shakespeare Project); The Taming of the
Shrew, Macbeth (Commonwealth Shakespeare Co.); King John
(Shakespeare & Company); Olly’s Prison; Dido, Queen of Carthage
(A.R.T.). He trained at Shakespeare & Company, Southwick Studio,
and Northeastern University.
Maarten Stragier Guitar; New Music Curator
Belgian guitarist Maarten Stragier’s refreshing take on concert
programming and a passion for contemporary music take his
performances from the original to the unusual. He has won first
prizes in the Axion Classics competition, the Hasselt Competition
for Musical Youth and is a recipient of the 2010 Ingeborg Köberle
Award. Maarten has brought new works to audiences both in
Europe and the US, performing solo and in affiliation with the
Ictus ensemble, Radius, the Callithumpian Consort, Sound Icon,
The Boston Modern Orchestra Project, the Mimesis Ensemble, the
Ludovico Ensemble, and the East Coast Contemporary Ensemble.
Maarten has recorded for Dorian records, BMOP/sound, and
Collectief Debonair, and has studied with Eliot Fisk, Oscar Ghiglia
and Antigoni Goni. He is currently a DMA candidate at NEC.
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Eduardo Antonio Ramos Suárez Tenor
HuiMin Wang Piano
Eduardo Antonio Ramos Suárez, tenor, is a recent graduate of the
New England Conservatory. Prior to studying at NEC, he attended
the State University of New York at Fredonia, where he received a
bachelor’s degree in vocal performance and arts administration. At
Fredonia he performed the roles of Gomatz in Mozart’s Zaïde, Elder
Gleaton in Floyd’s Susannah, and Cochenille in Offenbach’s Les
Contes d’Hoffmann, among others. His roles at the New England
Conservatory include Silvio in Bizet’s Doctor Miracle and Don
Miguel de Panatellas in Offenbach’s La Périchole.
HuiMin Wang studied with Bulgarian pianist Krassimira Jordan, first
in Vienna and later at Baylor University. After receiving a master’s
degree, Wang completed a graduate diploma in piano performance at
NEC under Veronica Jochum. As an active collaborative artist, Wang
has performed in the United States, China, and Taiwan. She has
appeared live on WGBH Boston and recorded for both NPR’s Alamo
Classics and Boston Records labels. Before returning to the Boston
area, she was staff pianist and opera coach at the Hartt School at the
University of Hartford. Since 1998, Ms. Wang has been a member of
the piano faculty at South Shore Conservatory where she is past
piano department chair, dean of students, and advisor to the
president.
Devin Ulibarri Competition Coordinator
Robert Ward Guitar, Administrative Director (2009, 2010)
Devin Ulibarri is a versatile musician with compositions published
in Conceptions Southwest magazine, a range of teaching experience, and a BM in Classical Guitar Performance from the University
of New Mexico. He recently earned his master’s degree at the New
England Conservatory under the tutelage of world-renowned
musician Eliot Fisk. Devin Ulibarri’s multitude of talents includes
fluency in the Japanese language, and he has premiered works for
such promising Japanese composers as Emi Inaba from Berklee
College of music. An accomplished and innovative teacher, Ulibarri
recently published an article, co-authored with Larry Scripp and
Rob Flax, titled “Thinking Beyond the Myths and Misconceptions of
Talent,” which Tanglewood’s Allen Fletcher called, “an immensely
consequential investigation of an issue at the heart of society, and
a call to effective action.”
Robert Ward holds degrees in guitar performance from the San
Francisco Conservatory of Music, BM, and the University of California
San Diego, MA. In Paris, he premiered three works written for him at
the famed Theatre de Renalgh. At the fourth International Guitar
Congress in Corfu, Greece he was a featured performer and teacher.
In San Diego, Mr. Ward was active with both the La Jolla Playhouse
and the San Diego Public Theater, as well as participating in El
Cimmaron by Hans Werner Henze. In Boston, he produced and
performed in a concert memoriam to Andres Segovia. Mr. Ward has
been a soloist with the New England Philharmonic, the Belmont
Symphony Orchestra, the Northeastern Symphony, the Bridgewater
Sinfonia, the Mozart Society Orchestra at Harvard, and the Newton
Symphony Orchestra. Robert Ward is a faculty member at Northeastern University, The Brookline Music School, and The New School of
Music.
Moisès Fernández Via Piano, Competition Judge
Recently praised by Gramophone magazine as an “artist of
coruscating verve and charm,” Barcelona-born pianist Moisès
Fernández Via is at the forefront of a new generation of classical
music performers. Critics refer to him as a singular creative artist
beyond disciplines, voluntarily distanced from the virtuoso soloist
figure. Born in 1980, he began his musical education at the age of
ten. He was an acclaimed winner of the Scarlatti International Piano
Competition in Naples and the Richmond Piano Competition in
Boston, and was nominated to the Arthur W. Foote Award from the
Harvard Musical Association. He studied at the Mozarteum
University in Salzburg, the Buchmann-Metha School of Music in Tel
Aviv, and Boston University, and has worked significantly with Imre
Rohmann, Robert Levin, and Maria João Pires.
Please visit bostonguitarfest.org for full biographies.
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Support Boston GuitarFest
Dear Friend of GuitarFest,
Boston GuitarFest is the dream of visionary guitar virtuoso Eliot
Fisk. While the main focus is always on the classical guitar,
the festival also aims to set the instrument within a broader
musical, cultural, and social context. Every year, GuitarFest gives
audiences the opportunity to hear world-class performers and
teachers, as well as providing students with great educational
experiences.
Giving Levels
Maestro: $10,000 or more
Benefactor: $5,000 to $9,999
Patron: $1,000 to $4,999
Supporter: $500 to $999
Friend: up to $499
While every effort is made at Boston GuitarFest to keep prices as
low as possible, our fees inevitably exceed the means of some
of our most talented students and festival participants. We are
dependent upon the good will of our generous donors to help
us have the ability to offer scholarship assistance so that the
programs we work all year and every year to create can reach
as many of the truly qualified as possible. Your tax-deductible
gift can help us offer the unforgettable experience of Boston
GuitarFest to deserving young people from all over the globe.
We thank you in advance for your kind generosity and for sharing
in Eliot Fisk’s vision. Let’s bring the music of the classical guitar
to a wider audience!
SUPPORT BOSTON GUITARFEST
NAME
STREET
CITY
STATE
PHONE
E-MAIL
ZIP
TOTAL ENCLOSED AMOUNT $
SEND THIS FORM AND CHECK PAYABLE TO:
NORTHEASTERN UNIVERSITY
ATTN: GUITARFEST
OR
DEPT. OF MUSIC
351 RYDER HALL
BOSTON, MA 02115
NEW ENGLAND CONSERVATORY
ATTN: GUITARFEST
DEVELOPMENT OFFICE
290 HUNTINGTON AVE.
BOSTON, MA 02115
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GuitarFest extends warm thanks to our generous donors
Reflects gifts received before June 1, 2013
Special Thanks to Boston GuitarFest Staff
Eliot Fisk: Artistic Director
Richard Feit: Dean of Performance Studies
Tom Novak: Dean of Students
Indra Raj: Community and Special Performances Coordinator
Zaira Meneses: Young Guitarists Workshop Coordinator
William Riley: Young Guitarists Workshop Coordinator
Adam Levin: Young Guitarists Workshop Coordinator
Catherine Cramer: Founder, Thomas Hiksdal Scholarship Fund
Robert Hanson: Administrative Director
Jennifer McNeil: Administrative Coordinator
Devin Ulibarri: Competition Director
Robert Bekkers: Production Manager
Fiel Sahir: Festival Assistant
Robert E. Davoli and
Eileen L. McDonagh
Charitable Foundation
College of Arts, Media and Design
Hiksdal Fund
Russell Cleveland
Anthony De Ritis: Chair, NU Music Department; Composition Competition Director
Arthur Rishi: Concert Coordinator, NU Music Department
Maureen Ton: Website, Print, and Marketing Design, NU Music Department
Afshaan B. Alter: Administrative Assistant, NU Music Department
Boston GuitarFest would like to also give thanks to
Deborah Boldin, Chameleon Arts Ensemble, Richard Cocco, Eric Cocco, Elena
Cook, Brian Dixon, Virginia Eskin, Patty Flint, Francesca Giannetti, D. Javier Gomez,
Gardiner Hartmann, Ian Headley, Luanne Kirwin, Charlie Kline, Northeastern
University Library, Dr. Karl Wilhelm Pohl, Cara Veilleux, Stephan Connor, Catherine
Cramer (Founder, Thomas Hiksdal Scholarship Fund)
Special thanks to GuitarFest Volunteers
Satik Andriassian, Raffi Donoian, Cheryl Eggert, Scott Hacker, Don Hague, Paul
Lohr, Noah Lubin, Jared Maynard, Alexander Prezzano, Helen Saarniit, Bob Ward,
and Saxon Schelfhaudt
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Thomas Hiksdal Scholarship Fund
In May of 2002 my husband Thomas Hiksdal
and I went on a wonderful trip to Spain. We
ended up spending most of our time in the
beautiful and historic city of Granada. We were
walking down one of the main boulevards one
morning and I happened to see a poster
advertising a guitar concert. The name “Eliot
Fisk” jumped out at me. Some years ago I
owned a music store on Cape Cod, and we
bought and sold classical guitars, so I knew a bit about that world.
Enough to know that a chance to hear Eliot Fisk — one of the world’s
best — was not to be missed. And hearing him in Granada was just
icing on the cake! The concert was scheduled for the next night, at the
Auditorio Manual de Falla, on the grounds of the Alhambra. We
bought our tickets.
The next night we walked up the hill, through the Alhambra gates,
to the Auditorio, a (relatively) contemporary concert hall. We then
were treated to the most incredible concert — a solo performance by
Eliot Fisk, alone on the stage with his guitar, holding us and the rest
of the packed hall completely transfixed. Thomas and I were almost
speechless as we walked back down the hill afterwards in the lovely
May evening. From then on, for the rest of his life, Thomas referred to
this concert as the apex of a lifetime of listening to music. The best,
the most profound, the most meaningful.
Later, when I was thinking of an appropriate way to remember
About Us
Donations to the Thomas
Hiksdal Scholarship Fund
Barbara Jones
Prosser Gifford
Bernice Cramer
Susan and Peter Morgan
Steve Connor
Trish White
Ida Little and Michael Walsh
David Cramer and Christine Wiita
Ken LaBrecque
Robert Hanson
Mr. and Mrs. William Mackey
Robert Wyatt
Cecily Selby
Jeanne Guillemin-Meselson
Robert and Carolyn Connor
David S. Isenberg
Jelle Atema
Sally Casper and Gary Borisy
Marilyn McMillan
Bruce Telzer and Leah Haimo
John P. and Yvonne Young Feher
N E W E N G L A N D C O N S E R V AT O R Y
Recognized nationally and internationally as a leader among music schools, New England
Conservatory offers rigorous training in an intimate, nurturing community to 720 undergraduate,
graduate, and doctoral music students from around the world. Its faculty of 225 boasts internationally
esteemed artist-teachers and scholars. Its alumni go on to fill orchestra chairs, concert hall stages,
jazz clubs, recording studios, and arts management positions worldwide. Nearly half of the Boston
Symphony Orchestra is composed of NEC trained musicians and faculty.
The oldest independent school of music in the United States, NEC was founded in 1867 by Eben
Tourjee. Its curriculum is remarkable for its wide range of styles and traditions. On the college level,
it features training in classical, jazz, Contemporary Improvisation, world, and early music. Through
its Preparatory School, School of Continuing Education, and Community Collaboration Programs,
it provides training and performance opportunities for children, pre-college students, adults, and
seniors.
NEC presents more than 600 free concerts each year, many of them in Jordan Hall, its world-renowned,
106-year-old, beautifully restored concert hall. These programs range from solo recitals to chamber
music to orchestral programs to jazz and opera scenes. Every year, NEC’s opera studies department
also presents two fully staged opera productions at the Cutler Majestic Theatre in Boston.
www.necmusic.edu
NORTHEASTERN UNIVERSITY
Founded in 1898, Northeastern University is a private research university located in the heart of
Boston. Northeastern is a leader in interdisciplinary research, urban engagement, and the integration
of classroom learning with real-world experience. The university’s distinctive cooperative education
program, where students alternate semesters of full-time study with semesters of paid work in fields
relevant to their professional interests and major, is one of the largest and most innovative in the
world. The University offers a comprehensive range of undergraduate and graduate programs leading
to degrees through the doctorate in six undergraduate colleges, eight graduate schools, and two parttime divisions.
www.northeastern.edu
Thomas, and thinking about what was most meaningful to him, I
of course thought of music. Thomas played many instruments, and
went to hear live music as often as he could — and, perhaps most
presciently, the design of our house (Thomas was an architect)
centered around music, around our beautiful Steinway, and
around having a space available to present concerts of live music. I
immediately thought — well, if it’s music for Thomas, then I have to
start with the musician who spoke to Thomas the loudest — Eliot Fisk.
And Eliot said yes.
With Eliot’s guiding determination to use our energy and emotion to
create something lasting, we then joined forces to create the Thomas
Hiksdal Scholarship Fund of the Boston GuitarFest.
—Catherine Cramer, Sept. 2009
The Department of Music at Northeastern University is part of the newly established College of Arts,
Media & Design, and offers concentrations in Music Industry, Music Technology, and Music History
& Analysis. Faculty in the Department are leaders in fields such as electronic music composition,
musicology and ethnomusicology, recording technology, copyright law, music theory, and multimedia.
The Department has also been a center for cultural diplomacy, and has hosted cultural exchanges
and symposia in conjunction with the US Department of State and UNESCO. Alumni of the Music
Department have gone on to careers in the record industry, arts administration, broadcast media,
music software, and education.
www.music.neu.edu
The Fenway Center is a mid-sized venue located at 77 St. Stephen Street, on the corner of St. Stephen
Street and Gainsborough Street. This performance center was formerly a church and has recently
undergone major renovations including the installation of a large-screen digital projector, professional
light and sound systems, and a ticket booth. This building has excellent acoustics and is an ideal place
for performances. The Fenway Center plays hosts to many functions, including choral groups, dance
teams, lectures, orchestral ensembles, and community church services on Sundays.
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Questions?
Contact Robert Hanson
EA R LY B I R D A N N O U N C E M E N T
Boston GuitarFest would like to thank
La Bella Strings for their years of support.
BOSTON CLASSICAL GUITAR SOCIETY
Proudly P r e s e n t s
ARTIST SERIES 2013-14
★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★
GFA Competition Winner
Vladimir Gorbach
Friday, October 4, 2013
Anabel Montesinos & Marco Tamayo
Friday, November 22, 2013
Duo Melis
Friday, February 14, 2014
Manuel Barrueco
Friday, April 4, 2014
www.labella.com
Roland Dyens
& New England Guitar Ensembles
Festival
Saturday, April 26, 2014
All Concerts begin at 7:30 pm
All events at First Lutheran Church of Boston, 299 Berkeley Street, Boston, MA
Go to www.bostonguitar.org for more information
GUITAR &
FR
IE
ND
S
Zaira Meneses
Director
Devin Ulibarri
Public Relations
A revolutionary new concept in
musical outreach. Guitar and Friends
presents young artists at the beginning
of their careers in a wide variety of
venues throughout the Boston Area.
For more information and complete
upcoming concert schedule go to
guitarandfriends.org
[email protected]
Honoring Robert Paul Sullivan
on the occasion of his retirement
Boston GuitarFest honors beloved guitar professor Robert Paul Sullivan for his years of artistry
and leadership in the guitar department at New England Conservatory. A lecturer and teacher
at NEC for decades, Bob has been a source of support for generations of students. In addition
to a lifetime of excellence on the classical guitar, Bob has mastered a menagerie of plucked
stringed instruments, including the vihuela, lute, jazz guitar, and mandolin.
Bob is an esteemed performer in solo, chamber, and orchestral capacities in the New England
region, as well as other parts of the country and in Europe. His performances have included the
Boston Symphony Orchestra, most recently the opening Gala concert of Mahler’s Symphony
No. 8 with conductor James Levine in Boston and New York; Boston Celebrity Series; Alea
III; New Hampshire Symphony Orchestra; Rhode Island Symphony Orchestra; Philadelphia
Symphony Orchestra; Boston Ballet; Boston Opera Company; Musica Viva, and others.
Sullivan has performed with Broadway productions of Chicago, Ragtime, Fiddler on the Roof,
and Man of La Mancha, as well as performing Irish folk music with the band Jug O’ Punch, and
dueting, since the late 1950s, with Thomas Greene. He has also participated several times, as
both a member and as president, of the jury at the Emilio Pujol Classical Guitar Competition
in Sardinia, Italy. During the summer season, Sullivan served as a conductor for the American
Mandolin and Guitar Summer School.
Students and faculty alike will miss Bob’s unmistakable Boston accent in the halls, as well as
his good humor and no-nonsense insight. We wish you a joy-filled and restful retirement!
Oscar Ghiglia and Eliot Fisk at “The Grottos,” Aspen, Colorado (1975). Photograph by Charles Abbott.
Guitars by Augustine
At Augustine, we believe that every classical guitarist deserves a great
instrument. With that in mind, we have sourced what we believe to be the finest
guitars in the world available at this price point. They are first-quality
instruments that are perfect for students, serious amateurs, or even professionals
who want a second instrument for travel or to keep at their teaching studio.
PRIMA SPECIALE Model:
Solid spruce or cedar top with solid rosewood back and sides - $699.00
PRIMA Model:
Solid spruce or cedar top with laminate rosewood back and sides - $499.00
These outstanding instruments are now available direct from the Augustine website
and come with a lightweight molded case and two sets of Augustine strings.
www.albertaugustine.com

the Festival Program

Transcription

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