John E. Marlow Guitar Series 2014-2015

The International Conservatory of Music presents

The John E. Marlow Guitar Series 21st Season • 2014-2015 www.MarlowGuitar.org

How The John E. Marlow Guitar Series Began With the unexpected passing of John Marlow in 1992, his friends formed a committee to organize a musical tribute to John and to raise scholarship money for his son, Richard.

The tribute was a huge success, bringing in almost $6,000 for Richard Marlow’s first semester at college. The magic, that was felt by all in attendance on that beautiful Sunday afternoon of April 18th, 1993, inspired Tim Healy and Regis Ferruzza to create a guitar series in John’s name.

John E. Marlow The John E. Marlow Guitar Series is dedicated to our good friend John Marlow: performer, composer, arranger, educator and former Head of the Guitar Department at American University. John inspired and assisted generations of guitarists with his talent, commitment to excellence and generous personality. Few are the guitar professionals in the Washington area whose work was not influenced by John.

The International Conservatory of Music has chosen to commemorate this outstanding human being with an annual living memorial: The John E. Marlow Guitar Series.

INTERNATIONAL CONSERVATORY OF MUSIC www.internationalconservatory.org

The International Conservatory of Music (ICM), a 501(c)(3) organization, is the umbrella organization for: • The John E. Marlow Guitar Series • Beatty Music Scholarship Competition for Classical Guitar • Education and Outreach Programs • Embassy Concert Tours in USA ICM was incorporated in the District of Columbia in 1980 and registered in the State of Maryland in 1995.

Our mission is to create community through music. The John E. Marlow Guitar Series brings the best classical guitarists in the world to Montgomery County, MD to entertain, educate, and inspire. We also present the Beatty Music Scholarship Competition for Classical Guitar, the Embassy Concert Tours in USA, and Master Classes, School Visits, Community Concerts and Podcasts through our Education and Outreach Programs.

In the past 33 years, ICM has presented hundreds of events and co-sponsored programs with area universities, the John F. Kennedy Center for the Performing Arts, Embassies, Federal Government agencies, public school systems and other community and cultural organizations.

ICM Board of Directors Timothy Healy, President; Edwin Butterworth, Jr.; Chien-Tai Chen, DMA; Joan Collings; Amy Crews Cutts, PhD; Michael DiMattina, MD; Neil Doherty; Cheryl Dragoo; Deborah Drayer; William Herrmann; David Kirstein, Esq.; Art Kosatka; Charlotte A.Kuenen, CFP; Henry Levin, PhD; Glen McCarthy; Duane Morse, Esq.; Gonzalo Palacios, PhD; Shereen Remez, PhD; Lucinda Wilson. Ex. Officio: Susan Healy, Administrative Director; Danielle Cumming, Artistic Director

Thanks to our Invaluable Friends!

Vittorio Brod for sharing our vision & providing us with our most generous donation to date John & Susie Beatty for supporting the Beatty Competition Amy Crews Cutts for her leadership in organizing the Beatty Music Scholarship Competition, fundraising, donations & sponsorship.

The Charles Del Mar Foundation for its continued financial support & friendship Charlotte Kuenen for chairing the new Fundraising Committee & to members Duane Morse, David Kirstein, Tomoko Shinagawa, Deborah Drayer, & Tim Healy.

Danielle Cumming, our new Artistic Director João Paulo Figueirôa, our new Outreach/Education Coordinator Neil Doherty for his help with the Beatty Competition David Kirstein for legal advice & hosting Marlow Guitar artists Art Kosatka for his support for the recording of Finals Night at Beatty Competition Henry & Susan Levin for hosting ICM Board Meetings Cheryl Dragoo for her accounting assistance & generous donations William Herrmann for hosting Marlow guitarists, ushering & lights management, Beatty Competition support Tomoko Shinagawa for taking on Quickbooks for ICM

Joan Collings for ICM administration & Marlow Guitar Receptions Duane Morse for “Best Of...” CD Project, legal assistance, visa applications & concert sponsorships Debbie & Patrick Mezzetta for Marlow Guitar CD & raffle sales Julius Rosen & Shirley Wolock for Marlow Guitar ticket taking & cheerful greeting Deborah Drayer for working on Marlow Guitar Receptions, the Beatty Competition & writing exceptional reviews Miyuki & Shuko Yoshikami for general support & Marlow Guitar Receptions Berta Rojas for serving as Artistic Director for the Beatty Competition for its first 3 years Robert Scharf for Marlow Guitar ushering & Receptions Calvin Schnure for his help with the Beatty Competition Meagan Healy for ICM & Marlow Guitar social networking, design work & Marlow Guitar Receptions Jim Rose & Susannah Hills Rose for Marlow Guitar Receptions Keith Bickel for Beatty Competition website development & support Montgomery County Government & AHCMC for financial support & encouragement Ed Butterworth for ICM’s Board of Director’s Membership Committee (Chair)

The International Conservatory of Music Our List of Supporters Gran Maestro: $10,000 & Higher John & Susie Beatty Arts & Humanities Council of Montgomery County & Montgomery County Government

Maestro: $5,000 -$9,999 James and Amy Crews Cutts, sponsor of the Berta Rojas performance & the Beatty Competition Charles DelMar Foundation Mike Hemmer, sponsor of the Adam Kossler performance & Gift

Artist: $1,000 - $4,999 David & Charlotte Kuenen Kirstein, sponsor of Carlos Barbosa-Lima performance Duane Morse, Esq., producer of “Marlow Series Favorites” CD, sponsor of the Pepe Romero performance Equifax Foundation, matching Gonzalo Palacios, G. PhD, sponsor of the Brasil Guitar Duo performance The Reinvestment Fund, matching Shereen Remez, PhD, sponsor of the Zoran Duki performance Iota chapter of Rho Psi Society

Virtuoso: $500 - $999 Art Kosatka Middle C Music Michael DiMattina, MD

Friends of the ICM Chevy Chase @ Home, Betty O’Connor George Washington University Music Department

The International Conservatory of Music Our Supporters Performer: $250-$499 Edwin Butterworth, Jr. Joan Collings June Das Gupta Neil Doherty Deborah Drayer William Herrmann Art Kosatka Henry Levin, PhD William Marple Jim & Susannah Hills Rose Julius Rosen, in memory of

Beatrice Rosen Anne & Paul Williams Lucinda Wilson Shuko & Miyuki Yoshikami Guitar Gallery, Washington, DC Steve & Linda Spellman - The Guitar Shop Jerry Lynn Guitar with Victor Litz Music Center Kirkpatrick Guitar Studio, Towson, MD

Player: $50-$249 Jacqueline Barth Sonja Benson Deborah Best Emily Best Robert Bergman Frank Bevacqua Bruce Bostwick Philip Branton Mark Campbell William Coleman, Jr. Vera Connolly Steve Corley Rosemary Crockett David & Margaret Delia Mark De Mulder Karl Edler III

Andrea Feight Peter Gray Jeffrey Green George Hammer Virginia Hartman Joseph Handwerger Linda Hause Catherine Healy Gary and Susan Hilbert Richard Humbert Jorn Larsen-Basse Larry LeMaster Fredric Margolis P. Van Mechelen Cliff & Claudia Moy Patricia Randall

Marlon Rebelatto Mary & Michael Rubino Robert G. Scharf Calvin Schnure Michael Shanley & Shirley Street Tomoko Shinagawa Elizabeth Stanford Toivo Tagamets Sharon Virga Bruce Weber Tim Wechsler Willner Family Deborah Wood Gail Yano

EVENING OF THE CONCERT • Pre-Concert Lecture

7:15 - 7:45 pm - given by Professor Larry Snitzler in the downstairs Reception Hall of the Church

• Door Prizes & Our Mailing List

When you present your ticket to each performance in the Church, you are entitled to fill out a voucher to qualify for a free door prize. Prizes include CDs of the artist performing that evening or free tickets to upcoming performances. The International Conservatory of Music/John E. Marlow Guitar Series will use the information you provide to create a mailing list to inform you of future performances. (We do not sell or give away this list.) If you do not wish to be put on the list, write only your name on the voucher.

• Guitar Raffle & Rules to the Raffle

Each concert, we will raffle off one guitar.

Raffle Tickets - $5 each; 5 for $20.

This year, five guitar specialty shops have contributed a guitar to use for the raffle, in support of the John E. Marlow Guitar Series.

Please support these shops & guitarists: The Guitar Shop: Please call Steve Spellman at 301-807-7777 Jerry Lynn Guitar & Victor Litz Music: 306 East Diamond Avenue, Gaithersburg, MD Kirkpatrick’s Guitar Studio: 4607 Maple Avenue, Baltimore, MD Middle C Music: 4530 Wisconsin Avenue, NW, Washington, DC Guitar Gallery: 3400 Connecticut Ave NW Washington DC

Rules:

1. You must be present to win.

2. You can only win one guitar per season.

3. If you don’t win in a drawing on a particular night, your unpicked ticket will qualify for the next drawing until the end of the season.

• Our Free “Meet The Artist” Reception

Following each performance at the Church, the International Conservatory of Music hosts a complimentary reception in the Reception Hall downstairs. This is a great opportunity for you to meet the performer/s and have your CDs autographed and meet other music lovers and friends.

Introducing The International Conservatory of Music announces new Artistic Director, Danielle Cumming and new Outreach/Education Coordinator, João Paulo Figueirôa.

Danielle Cumming Artistic Director

João Paulo Figueirôa Education & Outreach Coordinator

Dr. Danielle Cumming brings to the Series a background in performance, education and concert presentation. She is an active guitarist and recording artist, and is the founder and director of the Guitar Festival and the “Guitar in the Gallery” concert series at Salisbury University, Salisbury MD, where she is an Associate Professor.

Dr. João Paulo Figueirôa has won prizes in more than a dozen guitar competitions, performing throughout the United States and South America in guitar festivals, concert series, television and radio broadcasts. He has served as a faculty member at Escola de Música da Universidade Federal da Bahia in Brasil, and as a teaching assistant at The Florida State University with Bruce Holzman.

Dr. Cumming frequently serves as an adjudicator at international guitar competitions and as a teacher of master classes at festivals in the US, Canada and Germany. She holds a Doctorate in Music Performance from McGill University and a Masters in Performance from the University of Toronto, where she studied with the renowned guitarist, Norbert Kraft. Danielle@marlowguitar.org

Currently, he is the director of guitar studies at Catholic University of America. Dr. Figueirôa believes in the power of classical music to promote personal and emotional development and social harmony.

He has worked with numerous community projects for at-risk and underprivileged youth.

Joao@marlowguitar.org

“...yours is one of the most important series in town.”

Tim Page, Former Chief Music Critic The Washington Post email: January 17th, 2006

JOIN

THE BOARD OF DIRECTORS If you have enjoyed the Series and would like to be a part of the decision making for the ICM: John E. Marlow Guitar Series and other exciting programs, you are a good candidate for Board Membership of the International Conservatory of Music.

Some Benefits of being a Board Member: • Front Area Seating at all concerts • Opportunity to be part of artist selection • Camaraderie with a unique group of people and more...

Come and join those who are already members of the Board of Directors. Let us hear from you.

Please call Tim Healy: 301-980-4085 or Please call the ICM Phone: 301-654-6403

Master Classes The John E. Marlow Guitar Series is committed to community and educational outreach as well as to the presentation of outstanding concerts. This year, we are offering four master classes and two classroom presentations by our world class, international touring professionals.

PARTICIPANTS Performing in a Master Class is limited to 6 students and an audition may be required prior to selection. Those not selected to play will have the choice of either playing for a different artist or having their Master Class fee reimbursed.

Those wishing to be selected to perform in the master class should complete the Master Class Application Form (http://bit.ly/JEMGSMasterClasses) and pay the Master Class fee ($75). Early Application for the Master Class is available for a discount rate of $60. In order to qualify for the Early Application discount, the payment must be received at least one month prior to the intended Master Class.

The Master Class Application form must be filled out online. Fees must be paid by credit card online or by check. Checks must be mailed with a copy of the application form to 7001 Delaware St. Chevy Chase, MD. 20815.

No application fees or auditor donations can be accepted on the day of the Master Class.

AUDITOR The auditor’s suggested donation is $10 and must be paid in advance.

Donations can be paid for online or during the evening of the John E. Marlow Series concert.

All master classes take place on Sundays from 1pm – 4 pm Carlos Barbosa-Lima – Oct. 19, 2014 Zoran Dukic – Jan. 25, 2015 Pepe Romero– Feb. 22, 2015 Berta Rojas – March 22, 2015 Location: Chevy Chase Village Hall 5906 Connecticut Ave. Chevy Chase, Md. 20815 http://www.marlowguitar.org - or - http://bit.ly/JEMGSMasterClasses Questions: Contact our Education and Outreach Coordinator, João Figueirôa at (571) 305-1280 or joao@marlowguitar.org

Hundreds of millions in real estate sales.

Tim O. Healy is a “Friend In Deed!”

Call Tim: (301) 980-4085 Timothy.Healy@lnf.com TimOHealy.com Facebook.com/TimOHealyRealEstate

20 Chevy Chase Circle, NW Washington, DC 20015 Office - 202-363-9700 Office Direct - 202-895-7319

Photos: By Angelo Manino, Chad Wyatt, Robert Asakura

Carlos Barbosa-Lima, Brasil with Larry Del Casale and the Sunrise String Quartet CARLOS BARBOSA-LIMA Since his first U.S. tour in 1967, Carlos BarbosaLima has had international attention, performing as guest soloist and in recital with orchestras and at music festivals around the world.

As a young child he was overheard playing in a guitar shop by the great Brasilian guitarist, Luiz Bonfa. Bonfa advised Barbosa-Lima to study with Isaias Savio, the father of the modern guitar in Brasil. Bonfa would later remember the youngster in the shop, “I stopped to listen, and his playing gave me no doubt that he would one day become a great interpreter of this magnificent instrument.”

Barbosa-Lima studied with Savio from the age of seven, and later with Andres Segovia. By the age of twelve, he had recorded an album, had his concert debut in Sao Paulo and was appearing regularly on Brasilian television. Today, Barbosa-Lima records, concertizes, and teaches master classes around the world.

Barbosa-Lima’s playing integrates many styles, including classical, Brasilian, popular, and jazz. He explains, “Perhaps it was because of my own development in Brasil, where we do not have this airtight division between classical and popular, I always felt a great affinity for the popular style treated in a classical way.”

Photos: By Angelo Manino, Chad Wyatt, Robert Asakura

Carlos Barbosa-Lima with Larry Del Casale and the Sunrise String Quartet

LARRY DEL CASALE is a soloist and chamber musician praised by critics for his artistry and musicianship.

While his love for the ensemble format has afforded Mr. Del Casale the opportunity to work with a variety of distinguished artists, it is his work accompanying Brasilian guitar virtuoso Carlos BarbosaLima, in concert and on recordings, that has earned him the greatest renown. Their 2013 recording of Leo Brouwer’s music, Beatlerianas, with the Havana String Quartet received a Latin Grammy Nomination, and they have performed together at Carnegie Hall, and on WNYC’s Soundcheck.

Mr. Del Casale has been the featured soloist at such festivals as the New York Guitar Seminar at the Mannes College of Music where his performance of compositions by Ernesto Cordero earned him praise in The New York Times.

Mr. Del Casale is a graduate of The Mannes College of Music where he studied with Albert Valdes-Blain and Michael Newman.

THE SUNRISE QUARTET is a frequent guest on the John E. Marlow Guitar Series stage, having performed with guitarists John Feeley, Roland Dyens and Carlos Barbosa-Lima.

The Washington DC based quartet of Teri Lazar (violin), Claudia Chudacoff (violin), Osman Kivrak (viola) and Marion Baker (cello) is devoted to performing rarely heard masterpieces of chamber music in addition to the standard quartet repertoire, working creatively with guitarists, pianists and composers.

Founded in 1991, the quartet has given concerts at the Kennedy Center, the National Building Museum, the Corcoran Museum and the Phillips Collection, and has held a Chamber Music America residency at the Duke Ellington School of the Arts.

They have recorded for the Albany, Living Music, Arizona University Recordings, Amcam and AmeriMusic labels, and their performances are frequently broadcast on NPR.

Carlos Barbosa-Lima, Brasil with Larry Del Casale and the Sunrise String Quartet October 18, 2014 This concert is sponsored by David Kirstein & Charlotte Kuenen

Concert Program Carlos Barbosa-Lima Batuque*

Laurindo Almeida (1917-1995)

“Sentimental Melody�* (from Forest of the Amazon)

Heitor Villa-Lobos (1887-1959)

Perfidia*

Alberto Dominguez (1913-1975)

La Bikina*

Ruben Fuentes (b.1926)

Tristeza*

Haroldo Lobo/Niltinho

Aquarela do Brasil*

Ary Barroso (1903-1964)

Adios*

Enric Madriguera (1904-1973)

Carlos Barbosa-Lima and Larry Del Casale Classical Gas*

Mason Williams (b.1938)

Prelude no. 3*

George Gershwin (1898-1937)

Delicado

Waldir Azevedo (1923-1980)

Eu nao existo sem voce* Chovendo na Roseria* A Felicidade*

Antonio Carlos Jobim (1927-1994)

Intermission

Carlos Barbosa-Lima, Brasil with Larry Del Casale and the Sunrise String Quartet Concert Program Carlos Barbosa-Lima Cantilena de los Bosque Paisaje Cubano con Fiesta

Leo Brouwer (b.1939)

Carlos Barbosa-Lima and Larry Del Casale Micropiezas nos. 4, 3, 2

Leo Brouwer (b.1939)

Carlos Barbosa-Lima and the Sunshine String Quartet Quintet (1957) Allegro Lento Allegro vivace

Leo Brouwer (b.1939)

Selections from “Beatlerianas”† Eleanor Rigby Yesterday Penny Lane

Lennon and McCartney, arr. Leo Brouwer

† From the CD Beatlerianas * Arranged for guitar by Carlos Barbosa-Lima Carlos Barbosa-Lima records exclusively for Zoho Music (USA), zohomusic.com Carlos Barbosa-Lima and Larry Del Casale perform on guitars built by American luthier, Richard Prenkert. prenkertguitars.com Carlos Barbosa-Lima and Larry Del Casale use Savarez Strings exclusively

Carlos Barbosa-Lima, Brasil with Larry Del Casale and the Sunrise String Quartet Program Notes

It was Cuban composer Leo Brouwer (b. 1939) who first inspired the collaboration between Carlos Barbosa-Lima and the Latin Grammy winning Havana String Quartet, so the ensemble is dedicating the second part of tonight’s concert to his music. Havana-based Brouwer is a composer, guitarist, pedagogue and orchestra conductor, and is one of the most important musicians in the classical music scene today. Since the 1950s, Brouwer has created a remarkable body of work that has shaped and defined classical guitar repertoire.

Cantilena de los Bosques Paisaje cubano con fiesta

The lyrical Cantilena de los Bosques and the rhythmic Paisaje cubano con fiesta are examples of Brouwer’s recent works for solo guitar, written in 2007.

Micropiezas

The Micropiezas were written in 1957 and 1958 as a polytonal tribute to French composer Darius Milhaud, and are constructed using elements from Milhaud’s harmonic vocabulary. These pieces, along with the String Quintet were the first works in Brouwer’s expansion into chamber music.

Quintet for Guitar and String Quartet

The Quintet for Guitar and String Quartet was written in 1957. As with most of his early works this quintet displays Brouwer’s Afro-Cuban musical influences.

Although written when he was still a teenager, the piece displays his complete dominion over guitar technique and sonority, with the guitar acting more as a soloist. The opening Allegro movement is perhaps the most harmonically adventurous, favoring chords built on the interval of the fourth which both suits the guitar and lends an openness and mobility to the harmonic language. The tranquil central Andante features more lush harmonies. Its melodic theme will be re-worked years later by Brouwer into Cantilena de los Bosques. The closing Vivace has a jaunty swing thanks in part to compound time and blues-inspired harmonies.

Beatlerianas

Brouwer’s rendition of these famous songs is itself a work of art, as the pieces overflow with a variety of influences, textures and techniques. The guitar and string quartet are in constant dialogue, sharing harmonic combinations, colors and melodies.

Photo: Courtney Swift

Adam Kossler, USA DR. ADAM KOSSLER began his musical studies with his father, William Kossler, and continued his musical training through college with Dr. Elliot Frank at East Carolina University where he received his Bachelor of Music degree. He went on to earn a Master of Music at Appalachian State University, where he served as a teaching assistant to Dr. Douglas James, and most recently, completed his Doctorate of Musical Arts degree at the esteemed Florida State University where he studied with and served as a teaching assistant to Bruce Holzman.

As a performer, Adam Kossler has been a top prize winner in an impressive number of international guitar competitions including the Columbus Guitar Symposium, East Carolina Guitar Competition, MANC International Guitar Competition, the Texas International Guitar Competition, MTNA, and the Appalachian Guitarfest Competition.

Dr. Kossler currently resides in Sterling, Virginia where he teaches guitar in the Loudoun County School system. He performs regularly as a solo artist and in chamber ensembles as a member of the NOVA Guitar Quartet and the Kossler Guitar Trio, alongside his father, Bill and brother, John.

“Adam is one of the finest players of his generation. His playing is characterized by a virtuoso technique, beautiful sound and a sincere musicality.”

Bruce Holzman “Adam Kossler is both a spectacularly gifted guitarist and equally gifted musician. His playing is at the same times technically brilliant and subtly refined. In my career as a teacher I have never encountered a more gifted performer.”

Dr. Elliot Frank

Adam Kossler, USA November 15, 2014 This concert is sponsored by Mike Hemmer

Concert Program Fantasia, P. 1

John Dowland (1563-1626)

Passacaglia in D

Sylvius Leopold Weiss (1687-1750)

Prelude Fuga and Allegro BWV 998

Johann Sebastian Bach (1685-1750)

Tres Piezas Españolas Fandango Passacaglia Zapateado

Joaquín Rodrigo (1901-1999)

Intermission La Margheritina

Miroslav Loncar (b. 1964)

Capricho Árabe Gran Vals

Francisco Tárrega (1852-1909)

In a Mournful Mood Eklogue

Jean Sibelius (1865-1957) (transc. A. Kossler)

Gran Variations op. 16

Luigi Legnani (1790-1877)

Adam Kossler Program Notes Fantasia, P. 1

John Dowland

The Englishman John Dowland was a lutenist of distinction whose over 90 works for the instrument are considered among the most highly regarded musical compositions of the Renaissance period, although he was best known in his lifetime for having written the song “Flow, my teares”. This Fantasia is a throughcomposed work (no sections repeat) with imitative texture and harmonic variety that explore the wide range of capabilities of the Renaissance lute.

Passacaglia in D

Sylvius Leopold Weiss

Sylvius Leopold Weiss is often regarded as the finest German lutenist of the Baroque era. A contemporary of J. S. Bach, although they met only twice, Weiss was also a prolific composer attributed with over 600 works for lute. Weiss’ Passacaglia in D is one of his recognizable works and has been recorded and performed by many of the 20th century’s greatest guitarists including John Williams and Christopher Parkening.

Prelude, Fuga and Allegro BWV 998

Johann Sebastian Bach

Although J. S. Bach composed the Prelude, Fuga and Allegro around the years when he was in contact with the great lutenist Weiss, the contrapuntal nature and stylistic similarity to his keyboard works suggest that this piece and possibly all Bach’s lute repertoire was composed for the Lautenwerck or Lute-Harpsichord, a keyboard instrument with gut strings that sounded like a Baroque lute. The outer movements of this three movement work are a lilting prelude and a running-line Allegro, that frame the chorale-like fugue which, rare for Bach, ends as it began.

Tres Piezas Españolas Fandango | Passacaglia | Zapateado

Joaquín Rodrigo

Although Joaquín Rodrigo is most well-known for his Concierto de Aranjuez, his works for solo guitar are central to the repertoire. In Tres Piezas Españolas, stylistic elements of many genres can be heard, from Flamenco techniques and Baroque form to 20th century harmony. The first movement, the Fandango, is a traditional dance into which Rodrigo inserts his signature dissonance, the interval of a minor second. In Rodrigo’s words it is “a little solemn, but maintains a popular touch.” The Passacaglia harkens back to the 17th century form, with the recurring bass line, but with modern Spanish harmonies above. Lastly the fast-paced Zapateado evokes the speed of the Flamenco dancers’ feet.

Adam Kossler Program Notes La Margheritina

Miroslav Loncar

Croatian guitarist, composer, educator and Marlow Series performer Miroslav Loncar has written many works for solo guitar, guitar duo and guitar ensemble. La Margheritina is his most recent solo work and is dedicated to a former teacher, Marga Bäuml. The work combines elements of jazz, finger style guitar and classical music.

Capricho Árabe Gran Vals

Francisco Tárrega

Spanish composer/ guitarist Francisco Tárrega’s compositions and arrangements are among the most important works for guitar in the last 150 years. Having created many technical, musical and stylistic innovations, Tárrega is often referred to as the “Father of Modern guitar”.

A brooding work inspired by Spain’s Moorish culture, Capricho Árabe is one of Francisco Tarrega’s most famous works. His cheerful Gran Vals is equally well-known.

Indeed the second phrase is very famous; careful listeners will recognize it as the Nokia cell phone ringtone!

In a Mournful Mood Eklogue

Jean Sibelius (transc. A. Kossler)

Jean Sibelius typically devoted his efforts to large scale works, such as symphonies and concerti, most focused on themes of Finnish nationalism. While he never wrote for guitar, his works for piano lend themselves to transcription, and are now entering into the standard repertoire justifiably alongside the arrangements for guitar of the piano works of Isaac Albeniz, Enrique Granados and Manuel De Falla. In a Mournful Mood was written in 1924, part of the tone poem, Five Characteristic Impressions.

Eklogue is the first of the Four Lyric Pieces, written in 1914.

Gran Variations op. 16

Luigi Legnani

One hears the influence of Paganini and Rossini in the works of Italian composer and virtuoso guitarist, Luigi Legnani. The operatic quality of his music is not surprising, given his first career as a tenor. Credited with writing over 150 works for solo guitar, he is best known for his 36 Caprices. His opus 16 Gran Variazione is based on the theme of the soprano aria “Nel cor piu non mi sento” (Why feels my heart so dormant) from Giovanni Paisiello’s 1788 opera La molinara (The Miller), and combines theatrical elements from the popular operas of the period with virtuoso guitar techniques.

Zoran Dukić, Croatia

Photo: Mario Majcan

ZORAN DUKIć is one of the most distinguished classical guitarists of our time. His concert performances, both as a soloist or with orchestra, leave longlasting impressions on both audiences and critics.

Dukić graduated from the Music Academy of Zagreb, studying with Darko Petrinjak, then completed his studies with Hubert Käppel at the Hochschule für Musik in Cologne. In his “tour de force” competition years (1990-1997) Zoran Dukić won an astonishing number of competitions, and remains the only guitarist to have won both “Andrés Segovia” competitions, in Granada and in Palma de Mallorca, and demonstrated astounding mastery of musical periods and styles by winning competitions dedicated to such diverse composers as “Fernando Sor”, “Manuel Ponce”, “Manuel de Falla”, and “Francisco Tárrega” among others. At the most prestigious Spanish guitar competition, patronized by the Royal Family, Dukić was awarded not only the first prize, but the special prize for the best interpretation of Spanish music, making him the first non-Spaniard to receive this honor.

Though he considers the music by J. S. Bach the focal point of his musical life, Dukić is a great admirer of contemporary music, and his programs include works by the greatest names in modern writing, including Takemitsu, Henze, Reily, Carter and Gubaidulina, and this has inspired numerous composers to dedicate their works to him. Dukić also enjoys a special affinity for Spanish and South American musical idiom, the core repertoire of classical guitar. Currently, his carefully balanced programs present a range of music from Bach to Britten, from Sor to Albaniz, from Tarrega to Villa-Lobos and Brouwer. He is truly a master of the guitar.

“A thrilling concert... the audience was on its feet already after the first piece... a phenomenal evening” Gevelsberger Zeitung, Germany

Zoran Dukić, Croatia January 24, 2015 This concert is sponsored by Shereen Remez in honor of Susan Healy

Concert Program Sonata allegro moderato minueto pavana triste final

Antonio José (1902-1936)

Serenata Española

Joaquín Malats (1872-1912)

Julia Florida Caazapá Choro de Saudade

Agustín Barrios (1885-1944)

Six Balkan Miniatures Morning Dance Lament Vranjanka Macedonian Dance Wide Song Tiny-knit Dance

Dušan Bogdanović (b. 1955)

Intermission Sonata No.1 allegro assai adagio quasi canzone vivo

Atanas Ourkouzounov (b. 1970)

Adagio op. 44 (homage to J.S. Bach)

Gerard Drozd (b. 1956)

Invierno Porteño (arr. S. Assad) Adios Nonino (arr. C.Tirao)

Ástor Piazzolla (1921-1992)

Two Balkan Pieces Macedonian Girl Walk Dance

Miroslav Tadić (b. 1959)

Zoran Dukić Program Notes Sonata allegro moderato | minueto | pavana triste | final

Antonio José

In his lifetime, Antonio José was considered one of Spain’s most promising composers. He studied in Paris and drew praise from Maurice Ravel who said José would become “the great Spanish composer of our century”. José however was executed at the start of the Spanish Civil War at age 34, and his works forgotten during the Franco dictatorship.

His Sonata for guitar, completed in 1933 but only recently causing a sensation with its rediscovery by guitarists is one of the most important 20th century Spanish works for the instrument.

The work is cyclic in form so that the fourth movement repeats significant phrases from the first. Allegro moderato is in sonata form with two well defined themes, the first like a popular song and the second more lyrical but with sharp harmonies. The Castilian countryside is depicted as intense and sober. The mysterious minueto consists of three themes. The pavana triste is a beautiful romance whose melody repeats, disintegrates then gravely returns. The final movement is a spirited rondo, the scales alternating with violent rasgueados, in the midst of which there is a brief reprieve of song.

Serenata Española

Joaquín Malats

Serenata Española is one of the most popular pieces in the guitar repertoire.

Malats, a pianist himself, composed it for his instrument and Francisco Tárrega shortly thereafter arranged it for guitar. The guitar arrangement instantly became much more popular than the original (similar to Isaac Albeniz’s Asturias) and one often hears this charming miniature, very much influenced by Spanish nationalistic language of the time, in guitar concerts. I was involved in the latest edition of the piece by Chanterelle Editions, published in 2012 to mark the 100th anniversary of Malats’ death.

Julia Florida Caazapá Choro de Saudade

Agustín Barrios

Barrios is often called the Chopin of the guitar. Out of dozens of mini masterpieces from his opus, I selected three to perform tonight. Julia Florida is a stunningly beautiful barcarole Barrios composed towards the end of his life and dedicated to a young and beautiful girl. Caazapá is a lovely Paraguayan folk dance interwoven with almost improvised melodies and rich in rhythmic and metric changes. And Choro de Saudade (Nostalgic Choros) is inspired by the Brazilian choro form, and remains one of the most popular pieces by Barrios.

Zoran Dukic Program Notes Six Balkan Miniatures Dušan Bogdanović Morning Dance | Lament | Vranjanka | Macedonian Dance | Wide Song | Tiny-knit Dance The composer writes, “When I was living in San Francisco I had a visit from Bill Kanengiser [Los Angeles Guitar Quartet] who was on the lookout for some music influenced by folk idiom. I showed him various compositions but he focused on three little pieces that were sitting in my cupboard, orphan-like and forgotten.

So I added three more movements to form a more substantial suite. The folk material and number six seem to point to the six disintegrated republics that used to be known as Yugoslavia, the country I grew up in. After the painful war in my homeland I thought it would be a little gesture of goodwill to dedicate this composition to world peace.”

Sonata No. 1 allegro assai | adagio quasi canzone | vivo

Atanas Ourkouzounov

Ourkouzounov wrote the Sonata in 1996 while still studying at the Conservatoire de Paris. It was his first composition for solo guitar of such magnitude, and contains the influence of Balkan music that has come to be present in most of his pieces. Here this is heard in the modal language and compound rhythms. There is much common thematic material that unifies this three movement work. The second movement develops material from the first. The third movement also borrows from the first, most notably in the percussion that concludes the piece.

Adagio op. 44 Gerard Drozd (homage to J.S. Bach)

Drozd composed Adagio for his daughter in the early 1990s. Very much inspired by Bach, it is a simple piece of great beauty, a beauty that stems from the simplicity.

As soon as I heard it, I decided to include it in my repertoire. It is the most often performed piece by Drozd and it has already been arranged for many instruments and ensembles. The original guitar version is primarily in just two voices, with a regular eighth note movement in the bass line and neo-Baroque melody gently carrying us through the typical form of a Baroque second movement (AABB) but with added repetition of the “A” part at the end of the piece.

Zoran Dukic Program Notes Invierno Porteño (arr. S. Assad) Adios Nonino (arr. C.Tirao)

Ástor Piazzolla

The two pieces by Piazzolla, the Argentinian Tango master, that I chose for this evening share the same tango language but were arranged by two different guitarists in a very different fashion, and I enjoy very much opposing the two. The first, Invierno porteño (Winter in Buenos Aires) is a movement from Piazzolla’s Four Seasons written for his Quinteto. It was arranged masterfully by Sergio Assad, using the guitar’s potential to its maximum through polyphony, rich harmonization and rhythmic textures and yet sounding as if it were written for guitar originally. I see it as the masterpiece of contemporary arranging for classical guitar.

Adios Nonino (Goodbye Grandpa) was arranged by Argentinian folk guitarist, Cacho Tirao (1941-2007), who played for some years with Piazzolla in his Quinteto. This arrangement is much simpler at its core, but carries a great power through its almost rough and vulgar sounds and colours in its main theme and immense beauty in its second theme, one of the most popular themes Piazzolla ever composed.

Two Balkan Pieces

Miroslav Tadić

Macedonian Girl Makedonsko devojče is one of the most popular songs from Macedonia, about the unmatched beauty of Macedonian women. This reworking of “Macedonian Girl” is considerably removed from the simpler and lighter original, but it preserves the beautiful melodic line. It is in 7/8 meter, the most common meter Macedonian music.

Walk Dance Walk Dance is based on the traditional Macedonian dance “Kalajdžisko oro” whose choreography is based on the movements of coppersmiths making or repairing large metal dishes. It is common in East European folk dancing that movements from everyday activities such as plowing, planting, harvesting or practicing crafts are used as a basis for choreography. Tadić has used several wellknown melodic phrases as the basis of the composition.

Notes by Zoran Dukić.

Photo:Supplied by Artist/Rep

Pepe Romero, Spain PEPE ROMERO is a true living legend in the world of classical guitar.

Celebrated worldwide for his dazzling virtuosity, compelling interpretations and flawless technique, he is constantly in demand for his recitals, performances with orchestra and with the world famous Los Romeros Quartet.

Throughout his multidecade career Romero has mesmerized audiences throughout the world with the beauty of his playing, and he has been honored by kings, heads of state, and major institutions. By himself and with his family, Romero has performed at the White House, the Vatican for Pope John Paul II, for HRH Prince Charles, Prince of Wales, King Juan Carlos and Queen Sofia of Spain, and Queen Beatrice of Holland.

Born in 1944 in Malaga, Spain, Romero is the second son of the great guitarist Celedonio Romero, who was his only teacher. In those days, following the devastating Spanish Civil War (1936-39) and during the Second World War, Spain was in desperate economic straits. Basic survival was the primary challenge. Yet in spite of this, Celedonio Romero and his remarkable wife, Angelita, instilled in all three of their children, Celine, Pepe and Angel, a love of music that transcended the profound misery surrounding them.

Pepe made his first professional performance in a shared concert with his father in Sevilla’s Teatro Lope de Vega when he was just seven years old. After relocating to America in 1957, Celedonio Romero formed the Romeros Quartet with his three sons. Their many performances solidified them as the leading guitar ensemble in the world, defining the guitar quartet medium and inspiring repertoire from such great guitar composers as Joaquin Rodrigo and Federico Moreno Torroba.

Pepe Romero, Spain Although best known for his classical guitar performances, Mr. Romero’s passion for the traditional flamenco music of Andalucia has never wavered. His first recording, Flamenco Fenomeno for Contemporary Records, was made when he was only 15. Since then, Mr. Romero has made more than 50 recordings among which are over 20 concertos with the Academy of St. Martin-in–the-Fields conducted

by Sir Neville Mariner and Iona Brown, as well as collaborations with numerous renowned artists and ensembles. Always a champion of music by composers of historic importance, he has also delved into archives to explore lost guitar repertoire by Sor, Giuliani, Molino, Carulli, Mertz, Boccherini, and others.

Pepe Romero holds an honorary doctorate in music from the University of Victoria, British Columbia. In June 1996, he received the “Premio Andalucia de Musica,” the highest recognition given by his native land for his contributions to the arts. In February 2000, King Juan Carlos of Spain knighted Mr. Romero and his brothers into the Order of “Isabel la Catolica”. The following year “Los Romeros: Royal Family of the Guitar,” a biographical documentary was made by PBS Television.

In 2014 - 2015, The International Conservatory of Music celebrates the John E. Marlow Guitar Series’ 21st Anniversary Season

Pepe Romero, Spain February 21, 2015 This concert is sponsored by Duane Morse

Concert Program Lagrima Adelita Pavana Danza Mora

Francisco Tárrega (1852-1909)

Marieta (Mazurca) Mazurca en sol Maria (Gavota) Las dos hermanitas (vals) Rosita (polca) Capricho árabe Fantasía sobre motivos de “La Traviata”, op.8 Gran jota

Intermission Leyenda Rumores de la Caleta Granada Sevilla

Isaac Albéniz (1860 -1909) (trans Pepe Romero)

Suite Castellana

Federico M. Torroba (1891-1982)

Fantasía Sevillana

Joaquín Turina (1882-1949)

Suite Andaluza Alegrías Zapateado Fantasia

Celedonio Romero (1913-1996)

Pepe Romero Program Notes Lagrima | Adelita | Pavana | Danza Mora | Marieta (Mazurca) | Mazurca en sol | Maria (Gavota) | Las dos hermanitas (vals) | Rosita (polca) | Capricho árabe | Fantasía sobre motivos de “La Traviata”, Op.8 | Gran jota

Francisco Tárrega

Historically Francisco Tárrega is of immense significance in the development of the guitar, in terms of both technical innovations and compositions. Tárrega’s advocacy of the new concepts of guitar construction, particularly those of the great Spanish luthier Antonio de Torres (1817–1892), and his teaching methods, including the most practical way of holding the guitar (using a footstool to raise the left leg), principles of left and right hand techniques, and his studies to develop a player’s skills, have had profound influence to the present day.

Furthermore, Tárrega composed some superb music for the instrument, meticulously indicating the precise placing of notes on the fingerboard to produce the most expressive effects. In these little masterpieces, often influenced by Chopin, he established a Spanish romantic voice for the guitar which has enchanted public and players ever since. In addition, Tárrega was also the first great arranger for guitar, transcribing works from composers such as J.S. Bach, Beethoven, Berlioz, Chopin, Grieg, Handel, Haydn, Mozart, Schubert, Schumann, and Wagner, as well as pieces from Albéniz and Malats and other Spanish contemporaries.

Leyenda | Rumores de la Caleta | Granada | Sevilla

Isaac Albéniz

Albéniz’s music expresses a romantic nostalgia for his homeland Spain. Imagining himself of Moorish ancestry, most of Albéniz’s own comments concerning the programmatic aspect of his music derive from images of Andalucia, and often of the Alhambra, the elaborate Moorish palace-fortress that overlooks the Andalucian city of Granada.

Albéniz wrote of his work Granada, that he sought to create a piece “sad to the point of despair, among the aroma of the flowers, the shade of the cypresses, and the snow of the Sierra… I seek now the tradition, the lazy dragging of the fingers over the strings. And above all, a heartbreaking lament out of tune...I want the Arabic Granada, that which is art, which is all that seems to me beauty and emotion.”

Pepe Romero Program Notes cont. Albéniz Albéniz’s prelude, Asturias (Leyenda) is such a quintessential “Spanish guitar” piece that many are astonished to discover that it was originally written for the piano. Believed to be first transcribed for guitar by Tárrega, it became a favorite of Andrés Segovia and virtually every guitarist since. Albéniz’s biographer, Walter Aaron Clark, describes the piece as “pure Andalusian flamenco”.

Rumores de la caleta (Murmers of the Inlet) is a work full of recreations of local color. Following a flamenco-inspired introduction evoking a malaguenas, the first melody enters. The slower central section melody suggests cante jondo, the Spanish tradition of “deep song”.

For all Seville’s religious and romantic literary wealth, it is the city’s culture of flamenco that Albéniz draws from in this work, Sevilla. Central to the piece is the seguidilla rhythm heard in the opening motive and the falsetta scale passages, that evoke the spirit rather than direct references to flamenco.

Suite Castellana

Federico M. Torroba

Moreno Torroba was a major figure in Spanish music of the 20th century who flourished despite the political and social upheavals that surrounded him. With the outbreak of the Civil War in 1936, Moreno Torroba retreated to Navarra with his family, avoiding involvement in the conflict, yet despite this he soon became one of the dominant figures in Spanish music, along with Turina and Rodrigo.

Rejecting the European avant garde, these composers embraced a conservative nationalist aesthetic that believed in fidelity to Spain’s heritage, rather than in imitation of the European avant garde.

Although not a guitarist himself, Moreno Torroba’s growing friendship with Segovia inspired him to begin writing for the guitar, and the resulting compositions that are considered among his finest works. Suite Castellana contains Moreno Torroba’s first ever composition for guitar, the Danza, to which he later added Fandanguillo and Arada. Even in this early work one hears the lyricism and folkloric references for which Moreno Torroba would become known.

Pepe Romero Program Notes Fantasía Sevillana

Joaquín Turina

Joaquin Turina became known as a musician of great ability while still a youth in his native Sevilla. His early successes prompted him to move first to Madrid, then to Paris to further his education. By 1914, when Turina and his friend Manuel de Falla returned to Spain following their Paris studies, they were by that time among the most highly regarded Spanish composers. Turina focused on symphonic music, chamber music, songs, and piano pieces, as well as a number of works for guitar which are considered an important part of the repertoire of this essentially Spanish instrument. Fantasia Sevillana is often described as a musical picture postcard of the city of Seville, its architecture, its gardens, its character and its people.

Suite Andaluza Alegrías | Zapateado |Fantasia

Celedonio Romero

It is fitting to conclude this evening of Spanish music with the music of Celedonio Romero, the great guitarist, composer and founder of the esteemed guitar quartet The Romeros, the “Royal Family of the Guitar”. A prodigious talent from a young age, Celedonio first performed in public at age 10 and made his formal debut at age 20. He played widely throughout Spain, but deprived of his artistic freedom under the oppressive government of Generalissimo Francisco Franco, Celedonio immigrated with his family to the United States in 1957. Celedonio Romero was known and respected around the world, and was highly decorated for his contributions to the Spanish culture and to the world of the classical guitar.

International Conservatory of Music/The John E. Marlow Guitar Series is supported in part by funding from the Montgomery County government and the Arts and Humanities Council of Montgomery County.

Berta Rojas, Paraguay March 21, 2015

Photo: Ana Rivarola

This concert is sponsored by Amy and Jim Cutts in honor of William G. Crews and Fidela Benitez de Rojas BERTA ROJAS Renowned for her flawless technique and innate musicality, Berta Rojas ranks among today’s foremost classical guitarists. At each concert Rojas takes her audience on a colorful journey of sound, introducing new compositions and new interpretations of traditional repertoire with her interpretive and technical mastery.

As a recording artist, Rojas is prolific and lauded. Salsa Roja, her most recent production of Latin American music is characterized by an elegance, sophistication and sensuality that invite the listener to examine the different shades of the soul. Her Intimate Barrios CD is one of the most celebrated recordings of the works of the great Paraguayan composer/guitarist, Agustin Barrios Mangoré, glowing with delicate insight. She won great acclaim for her albums Cielo Abierto and Terruño, as she did for Alma y Corazón for which she toured with Carlos BarbosaLima. Most recently Rojas has toured with the Grammy-winning Cuban saxophonist Paquito D’Rivera with whom she recorded the album Día y medio which was nominated for a Latin Grammy Award.

In addition to touring and teaching master classes, Rojas is firmly committed to encouraging the love of classical guitar among young people. She created the Barrios World Wide Web Competition which is the first online classical guitar competition, co-founded the Beatty Competition and has served as Artistic Director of the Ibero-American Guitar Festival.

Rojas has been honored as a Fellow of the Americas by the Kennedy Center for the Performing Arts for her artistic excellence, and currently serves as the Ambassador of Tourism for her country, Paraguay.

Photo: Janette Beckman

Brasil Guitar Duo, Brasil BRASIL GUITAR DUO João Luiz and Douglas Lora met as teenage guitar students in São Paulo and have performed together ever since. With Luiz arranging both classical and Brasilian music and Lora contributing works of his own, the duo is known for their diverse repertoire, ranging from Bach, Sor, Scarlatti, and Debussy to the traditional music of their native land, choro, samba, maxixe, and baião.

Eager advocates of concerti for two guitars and orchestra, the Duo have performed with the Dallas and Houston symphony orchestras, Ohio’s Dayton Philharmonic and Lancaster Symphony Orchestra, and the Philharmonic Orchestra of the Americas in New York City. They premiered a work by Brasilian composer, Paulo Bellinati, with the São Paulo Symphony Orchestra in June 2012, and gave the first U.S. performance the following year with the USC Symphony Orchestra.

The Duo gained high praise for their debut CD in 2007, Bom Partido, which featured all Brasilian repertoire. Two critically acclaimed CDs on the Naxos label followed in 2008 and 2009, with the complete works for two guitars by Mario Castelnuovo-Tedesco. Their most recent recording is a collaboration with flutist Marina Piccinini, performing all of J.S. Bach’s sonatas for flute and harpsichord, arranged by the Duo.

Brasil Guitar Duo April 11, 2015 This concert, sponsored by Gonzalo T. Palacios, Ph.D, is dedicated to everyone who learns and agrees.

Concert Program Pieces de Clavecin * Allemande L’ Egyptienne Les Cyclops

Jean Philip Rameau (1683 - 1764)

Ghosting **

David Leisner (b. 1953 )

Sonata de Los Viajeros ***

Leo Brouwer (b. 1939)

Intermission Triptico Allegro Andantino Toccata

Leo Brouwer (b. 1939)

Selected Pieces A Fala da Paixao Forro Don Quixote Karate Agua & Vinho Strawa no Sertao

Egberto Gismonti

* arranged by Joao Luiz ** dedicated to the Brasil Guitar Duo *** U.S premiere

Brasil Guitar Duo Program Notes Jean-Phillippe Rameau

Pieces for Clavecin

Besides his importance as a composer and as a music theorist in the Baroque Era, Jean-Philippe Rameau was one of greatest masters of the French school of harpsichord in the 18th century. His modern and sophisticated style of writing music took the harpsichord to a new level of prominence by giving the instrument equal attention among the other soloists in chamber music (the trio sonatas, for example) and developing technique through virtuosic solo works.

These selections of pieces are arranged for two guitars by Joao Luiz and reflect the composer’s deep musical knowledge. The arrangements bring a new perspective to the compositions, by exposing the music’s complexity as two independent instruments are played as one.

David Leisner

Ghosting

Ghosting is dedicated to the dazzling Brasil Guitar Duo, and was commissioned

by Symphony Space through the Isaiah Sheffer Fund for New Initiatives. Its compositional seed was sprouted with some spare musical ideas and a little haiku-like poem of my devising: the air holds us presence into absence, ghosting afterimage The work begins and ends with harmonics floating freely, as if tossed about by a capricious wind. A simple tune in subtly shifting meters becomes the ground for variations that begin rather quietly and become increasingly lively. This leads to a brief, but spacious chordal passage that sounds perhaps like a distant carillon, followed by the original tune fragmented, then turning into a little chorale with harmonics, that leads to a return of the opening material, now a little more spectral. -- Written by David Leisner, New York - 2014

Brasil Guitar Duo Program Notes Sonata de los Viajeros Triptico

Leo Brouwer

Cuban composer and guitarist Leo Brouwer is acknowledged as one of the most important contributors to the modern classical guitar repertoire. His compositions range from solo guitar pieces to symphonic works and allow him to develop a unique voice through various styles. His prolific output as a composer embraces different aesthetics, from avant-garde experimentalism to neo-romantic simplicity. In all of Brouwer’s works there are clear references to the traditional dance rhythms and folks songs of Cuba.

The Triptico was originally written for guitar and string quartet in 1958, presented here as an adaptation for two guitars made by the composer himself. The fourmovement Sonata de los Viajeros is probably Brouwer’s most recent piece for two guitars. The Brasil Guitar Duo gave this piece its world premiere in a performance setting in fall 2014, and recorded the piece for the first time in Toronto in June 2014.

Selected Pieces

Egberto Gismonti

Egberto Gismonti is considered an important performer and composer of our time. A renowned piano and 10-stringed guitar virtuoso, Gismonti captures the essence of Brasilian spirit in his compositions by connecting academic and popular aesthetics into brilliant powerful melodies. Various Brasilian rhythms such as Frevo, Baiao, Maracatu, Maxixe, Samba and others, including tribal music from native Brasilian cultures, are a constant element in his work.

This collection of pieces was arranged for two guitars by Joao Luiz under the composer’s supervision. It reflects the vast range of Brasilian music.

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JOAO PAULO FIGUEIROA CLASSICAL

GUITAR LESSONS " It was Assad’s “Aquarelle,” though, that really stole the show. It’s a tourde-force for guitar with an improvisational, almost whimsical feel, full of quicksilver twists and turns and delicate shades of color. Figueirôa gave it a lively and imaginative reading, and it was clear he was in his element. As an ambassador of Brazilian music, this is a guitarist worth hearing". - Stephen Brookes.

The Washington Post - Review from his 2013 performance at the John E. Marlow Guitar Series.

LEARN FROM A PERFORMER AND TEACHER

More information:

www.jpfguitar.com

LARRY SNITZLER April 6, 2014 - Solo Recital, The Castles of Spain - Richland Center, Wisconsin April 26, 2014 - The Eclectic Guitars, ¡Tango! - The Lyceum, Alexandria, Virginia May 10, 2014 - Solo Recital, The Castles of Spain - Kirkwood Concerts, Springfield, Virginia July 27, 2014 - Solo Recital, Summer Serenade - N.Y. Ave. Presb. Church, Washington, DC October 3, 2014 - Solo Works, Faculty Showcase - Harris Theatre, GMU, Fairfax, Virginia Feb. 15, 2015 - Guitar & Voice, with Kate Hearden - Harris Theatre, GMU, Fairfax, Virginia March 14, 2015 - The Eclectic Guitars, Blues in the Night, The Lyceum, Alexandria, Virginia May 24, 2015 - Solo Recital, Leyenda Catalana, The Lyceum, Alexandria, Virginia

Looking for a teacher? I love to teach!

Give me a call: 703-684-9068, or email: snitzler@gmu.edu On parle Français - Se habla Castellano

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by Andrés Segovia revised & edited by Larry Snitzler Catalogue # CO 361

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9th ANNUAL BEATTY COMPETITION

March 6-9, 2015 George Washington University Washington, DC Presented by The International Conservatory of Music

The Composer’s Prize celebrates the music of the Vihuelists : Milán, Mudarra, Narvaez, Fuenllana, Daza, Valderrábano, Pisador, and da Milano.

Dr. Glenn Caluda - Set Piece Composer Dr. Amy Crews Cutts - Executive Director Dr. Glenn Caluda - Artistic Director

2014 Winners AJ Branton, Youth Division Infinity Willner, Junior Division Robbie Belson, Senior Division Infinity Willner, Grand Prize Amanie Oubrahim, Composer’s Prize