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


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Alion Baltic International Music Festival

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

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The Guitar Down Under

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

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Wilson Center Guitar Festival

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

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Guitarist Judicaël Perroy Joins Faculty of San Francisco Conservatory of Music

Posted By Administration, Wednesday, March 1, 2017
SAN FRANCISCO, CA - The San Francisco Conservatory of Music (SFCM) today announces the appointment of guitarist Judicaël Perroy to its faculty. Perroy comes to SFCM from France, where he has taught at the National Academy of Aulnay-sous-Bois and at the Pôle d'Enseignement Supérieur de la Musique en Seine-Saint-Denis-Île-de-France, among other institutions. "Following the retirement of the great Sérgio Assad from our guitar faculty, we are thrilled to welcome the world-renowned guitarist Judicaël Perroy as the new SFCM guitar professor," says SFCM Guitar Department Chair David Tanenbaum. "Besides being a master player at the top of his generation, Judicaël has had unprecedented success as a teacher, having taught five recent first prize winners of the guitar world's most important competition, the GFA, after having won the competition himself. Judicaël's dedication to both playing and teaching at the highest level makes him a perfect fit here." "I've known SFCM since coming to the US for the first time 20 years ago, and this makes me even more honored to be part of the team of teachers and of this school with such a rich history," says Judicaël Perroy. "This is why I am so excited to be part of it." Judicaël Perroy is known around the world as both a performer and pedagogue. Frequently in demand as a teacher, he has given master classes at many of the top universities and conservatories in the US and abroad. Perroy's students have won several top prizes in regional, national, and international competitions, including the Guitar Foundation of America Competition. Perroy is the recipient of numerous awards, including the First Prize at the 15th Guitar Foundation of America International Competition and Convention (an accolade that also allowed him to tour the United States and Canada, giving more than 60 concerts and master classes), Second Prize at the International Guitar Competition of Ile de France, and both Grand Prize and Audience Prize at the 15th Concours René Bartoli. He also was awarded the First Prize at the 7th International Bourg-Madame Competition and, upon graduation, received the highest placement in his class at the Paris Conservatory. Perroy's performances in France have been broadcast live on France Musique and he has released a number of albums on Naxos, Mel Bay, Bayard Musique, and additional labels, performing the works of Bach, Ponce, Rodrigo, and many others. In addition to Perroy joining the guitar faculty and beginning his own studio in Fall 2017, jazz guitarist Julian Lage will also begin teaching at SFCM in the fall as a member of the Conservatory's new Roots, Jazz, and American Music (RJAM) program.

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X International Guitar Competition Culiacan 2017

Posted By Emma Markham, Tuesday, January 10, 2017
Fundación Cultural de la Guitarra A. C., in coordination with H. Ayuntamiento de Culiacán and Instituto Sinaloense de Cultura.

Present the X International Guitar Competition Culiacan 2017. To be held March 7 th thru 10 th 2017 in Culiacán Sinaloa México, during the XVII International Guitar Festival Sinaloa 2017, which will take place march 6th thru the 11th, 2017.


Participation to the X Culiacan International Guitar Competition 2017 is open to all guitarists, regardless of age or nationality who:

- Have not won any edition of the Culiacan International Guitar Competition

- Have paid the registration fee of $100.00 USD to de following account:

Bank: Banamex
Account Name: Fundación Cultural de la Guitarra A.C.
Branch: 441
Account Number: 7718139
For international deposits use: 002730044177181393

Send deposit slip and official ID to:

The last day to send the documents is Febrary 27 th .

First Round:

Will be held March 7th and 8th 2017, at 10 a.m. in theater Socorro Astol located in Instituto Sinaloense de Cultura (ISIC), address: Boulevard Niños Héroes (malecón) corner with Ruperto L Paliza, in the city of Culiacán, Sinaloa, México. Participants must be present at least 40 minutes before his turn. Turn will be assigned by email on March 2 nd .

Participants will play:

- Free choice program between 8 and 10 minutes long.

Semi-finalist will be announced verbally after the second day 2 [X INTERNATIONAL GUITAR COMPETITION CULIACAN 2017] of the first round.

Semifinal round will be en march 9th 2017, at 10 a.m. in theater Socorro Astol, with the same order as the previous day. Participants must be present one hour before to be assigned a warming up space.

Semifinalist will play:

- Set piece “Brisas de Mocorito”, traditional song from Sinaloa, arranged for guitar by Heriberto Soberanes, available at

- Additional high quality program adding a total playing time of 10 to 12 minutes, including the set piece.

Finalist will be announced verbally after de semifinal round.

Final Round will be en march 10th 2017, at 8:00 p.m. in Pablo de Villavicencio Theater in a Public Concert, with the same order as the previous day. Participants must be present one hour before to be assigned a warming up space.

Finalist will play:

Free choice program 17 to 20 minutes long. No pieces from the semifinal round can be repeated.

Winners will be announced verbally after de final round and must be present for the Winners Ceremony following the concert.

The competition

- Participants must state name and pieces to be played for the jury.

- Participants will have one minute to choose a chair and to tune the guitar.

- All pieces must be played from memory.

- Should the jury find it appropriate, any participant could be stopped during his/hers performance.

- Should the jury find the absence of sufficient quality, any price could be declared “not awarded”.

- There will only by a tied circumstance if the amount of the price is not increased.

- The jury will determine the number of semifinalists and finalists.

- Jury´s decisions are final.

Additional information


- All rounds will be public and could be recorded and broadcasted in any media, without it causing retribution of any kind to participants.

- Participation implies the contestant understands the rules and agrees to them.

- All participants will receive a diploma

- All participants could request to one ore more members of the jury an observation on strengths and weaknesses.

- Winners must personally claim the prize.

The Jury

The Jury of X International Guitar Competition Culiacan 2017 will be formed by at least three professional musicians of whom at least two will be international.


Since its first edition, H. Ayuntamiento de Culiacán sponsors the prices for the competition, which are:

First place:

- USD $ 4,000 (Four thousand U.S. Dollars)

- Paid concert (1500, USD) Solist with Sinaloa de las Artes Orchestra during festival 2018

- CD Recording

- Photography Session with Canadian photographer Collin Jewall (

Second place:

- USD $ 1,500 (Fifth teen hundred U.S. Dollars)

Third place:

- USD $ 500 (Five hundred U.S. Dollars)

Fundación Cultural de la Guitarra A.C.

Marco Vinicio Camacho García, President
Rodolfo Pérez Berrelleza, Artistic Director
Andres Quiróz, Competition Coordinador
Heriberto Soberanes
More info:

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Deadline Extended for Schadt Guitar Competition!

Posted By Emma Markham, Friday, December 30, 2016
Applications for the 2017 Schadt String Competition for Classical Guitar will now be accepted until December 30, 2016. Submissions include a recording of an unaccompanied solo guitar work of your choice up to 10 minutes in length and any major guitar concerto of your choice (include all movements) recorded with piano accompaniment, excluding Giuliani's Concerto in A, Op. 30. 

First Prize is $8,000 and a solo concerto engagement with the Allentown Symphony Orchestra. Second place receives $3,000 and third place, $1,500. 

If you have any questions, please feel free to contact Stephanie Kocher, Schadt Coordinator

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Latino Arts Strings Program Presents Fourth Annual Guitar Festival & Competition

Posted By Emma Markham, Thursday, December 15, 2016

Latino Arts Strings Program Presents Fourth Annual

Guitar Festival & Competition

Festival to Conclude with Performances by International World-Class Guitarists

MILWAUKEE, Wisconsin (December 15, 2016) – The Latino Arts Strings Program, a nationally recognized pre-college music training program, is proud to present their fourth annual international Guitar Festival. This daylong event will feature a youth guitar competition, a master class moderated by internationally acclaimed musicians, and an evening performance by classical guitarists, Rene Izquierdo & Isaac Bustos.

The Guitar Festival will kick off with a youth competition that is open to classical guitarists of all ages. A panel of local and international judges will select one winner from each competition level (intermediate and advanced). At the end of the night, the winners of the competition will perform with world-class artists, Rene Izquierdo and Dr. Isaac Bustos.

Guest performers, Rene Izquierdo and Dr. Isaac Bustos, boast unique and impressive resumes. Cuban native, Izquierdo, is a professor of classical guitar at University of Wisconsin-Milwaukee and an active solo performer and chamber musician. He has participated in countless guitar competitions and won several including the JoAnn Falletta International Guitar Competition and the Extremadura International Guitar Competition.

Dr. Isaac Bustos is a classical guitarist, pedagogue and educator with an extensive performing career who has earned several top international prizes. Bustos is currently the Artistic Director of the Texas A&M International Guitar Symposium and Competition at the Texas A&M University Department of Performance Studies.

The festival will take place on February 11, 2017 at the Latino Arts Auditorium, 1028 S 9th St, Milwaukee, WI 53204.

Timeline of Events:

8:00 a.m. – Youth competition

1:00 p.m. – Master class

3:30 p.m. – Guitar workshop

7:00 p.m. – Guest performance, accompanied by youth competition winners

Admission to the concert plus enrollment in the competition and master class costs $25 per person. Registration is open online through February 1, 2017. Concert tickets to the evening performance are $10 for general admission and $8 for students. To register or buy tickets for the concert, visit

For additional information including performance dates, times, venue information, competition rules and performer biographies, visit

Connect with Latino Arts on Facebook at and follow @latinoartsinc on Twitter.

Download File (PDF)

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Grammy-Winning Guitarist Jason Vieaux Performs East Coast Premiere of Dan Visconti’s Living Language

Posted By Emma Markham, Friday, November 4, 2016

Grammy-Winning Guitarist Jason Vieaux

Performs East Coast Premiere of Dan Visconti’s
Living Language

with the Reading Symphony Orchestra
led by Music Director Andrew Constantine

“perhaps the most precise and soulful classical guitarist of his generation” – NPR

Saturday, December 3, 2016 at 7:30pm
Santander Performing Arts Center
136 N 6th St | Reading, PA
Tickets: $20-80 at

Jason Vieaux Online:

Reading, PA — Grammy-winning guitar virtuoso Jason Vieaux will give the East Coast premiere performances of composer Dan Visconti’s guitar concerto Living Language with the Reading Symphony Orchestra led by Music Director Andrew Constantine on Saturday, December 3 at 7:30pmat the Santander Performing Arts Center (136 N 6th St). The concerts also include Brahms’ Symphony No. 3 and Dvorák’s Slavonic Rhapsody No. 3.

Commissioned and premiered in May 2016 by the California Symphony, Living Language follows Devil’s Strum, a blues-infused work for solo guitar that Visconti wrote for Vieaux in 2010, which Vieaux has performed widely. In addition to these new works by Visconti, Vieaux’s passion for new music has led him to premiere and champion music by living composers including Vivian Fung, Keith Fitch, Kinan Abou-Afach, David Ludwig, Jerod Tate, Eric Sessler, José Luis Merlin, and Gary Schocker.

Dan Visconti, who is in the midst of three years as the California Symphony’s Young American Composer-in-Residence, won the prestigious Koussevitzky Award for Living Language, presented by the Library of Congress in November. He says of the piece, “Living Language will explore an inversion of the typical concerto format, where the orchestra normally exposes material with the soloist elaborating and commenting; to the contrary, my piece will explore the orchestra as a kind of echo chamber that passes around gestures that all originate from the guitar soloist's melodic material.” In addition to the Reading Symphony Orchestra, the Richmond Symphony and Fort Wayne Philharmonic have also scheduled future performances of Living Language.

Grammy-winner Jason Vieaux, “among the elite of today's classical guitarists” (Gramophone), is the guitarist that goes beyond the classical. NPR describes Vieaux as, “perhaps the most precise and soulful classical guitarist of his generation.” His most recent solo album, Play, won the 2015 Grammy Award for Best Classical Instrumental Solo. In June 2014, NPR named “Zapateado” from the album as one of its “50 Favorite Songs of 2014 (So Far).”

Vieaux has earned a reputation for putting his expressiveness and virtuosity at the service of a remarkably wide range of music, and his schedule of performing, teaching, and recording commitments is distinguished throughout the U.S. and abroad. His solo recitals have been a feature at every major guitar series in North America and at many of the important guitar festivals in Asia, Australia, Europe, and Mexico. Recent and future highlights include returns to the Caramoor Festival, Philadelphia Chamber Music Society, and New York's 92Y, as well as his Ravinia Festival debut and performances at Argentina’s Teatro Colon and Oslo, Amsterdam’s Concertgebouw, and Norway’s Classical Music Fest. Vieaux’s appearances for Chamber Music Society of Lincoln Center, Bard Music Festival, Music@Menlo, Strings Music Festival, Grand Teton, and many others have forged his reputation as a first-rate chamber musician and programmer. He collaborates in recitals this season with Escher Quartet, acclaimed harpist Yolanda Kondonassis, and accordion/bandoneón virtuoso Julien Labro. Vieaux’s passion for new music has fostered premieres of works by Avner Dorman, Dan Visconti, Vivian Fung, Keith Fitch, Kinan Abou-Afach, David Ludwig, Jerod Tate, Eric Sessler, José Luis Merlin and Gary Schocker.

Jason Vieaux has performed as concerto soloist with over 100 orchestras, including Cleveland, Houston, Toronto, San Diego, Ft. Worth, Charlotte, Buffalo, Grand Rapids, Kitchener-Waterloo, Richmond, IRIS Chamber, Chamber Orchestra of Philadelphia, Chautauqua Festival, and New Hampshire Music Festival. Some of the conductors he has worked with include David Robertson, Donato Cabrera, Miguel Harth-Bedoya, Jahja Ling, Stefan Sanderling, Michael Stern, David Lockington, Steven Smith, and Edwin Outwater. During the 2016-2017 season, Jason Vieaux will make appearances with 11 symphony orchestras throughout the US and Canada, including return engagements with the Santa Fe and Edmonton Symphonies, Piazzolla’s Double Concerto with Julien Labro and the Arkansas Symphony, and engagements with the symphonies of Niagra, Stockton, Illinois, and West Virginia. Vieaux will also be performing Dan Visconti’s new guitar concerto, Living Language, which he premiered with California Symphony in May 2016, with the symphonies of Reading Symphony Orchestra, Fort Wayne, and Richmond.

Vieaux continues to bring important repertoire alive in the recording studio as well. His latest album, Infusion with bandoneonist Julien Labro, was released in October 2016 on Azica Records and features Vieaux and Labro in Labro’s arrangements of Leo Brouwer’s Tres Danzas Concertantes and Piazzolla’s Escualo, his arrangement of Radamés Gnattali’s Suite Retratos with bassist Peter Dominguez and percussionist Jamey Haddad, Pat Metheny’s Antonia, and Vieaux’s arrangement of iconic 1980s British rock band Tears for Fears’ Everybody Wants to Rule the World. Vieaux recently recorded Alberto Ginastera’s Sonata for Guitar Op. 47 for a Ginastera Centennial album produced by Yolanda Kondonassis, which was released in October 2016 on Oberlin Music and features additional performances by Kondonassis, violinist Gil Shaham, and pianist Orli Shaham. His duo album Together, with harpist Yolanda Kondonassis, was released in January 2015. Of his Grammy-winning 2014 solo album PlaySoundboard Magazinewrites, “If you ever want to give a friend a disc that will cement his or her love for the guitar, this is a perfect candidate,” while Premier Guitar claims, “You’d be hard pressed to find versions performed with more confidence, better tone, and a more complete understanding of the material.”

Vieaux’s previous eleven albums include a recording of Astor Piazzolla’s music with Julien Labro and A Far Cry Chamber Orchestra; Bach: Works for Lute, Vol. 1, which hit No. 13 on Billboard’s Classical Chart after its first week and received rave reviews by Gramophone, The Absolute Sound, and SoundboardImages of Metheny, featuring music by American jazz legend Pat Metheny (who after hearing this landmark recording declared: “I am flattered to be included in Jason's musical world”); and Sevilla: The Music of Isaac Albeniz, which made several Top Ten lists the year of its release. Vieaux’s albums and live performances are regularly heard on radio and internet around the world, and his work is the subject of feature articles in print and online around the world, including such magazines as Acoustic Guitar, MUSOGramophone, and on NPR’s “Deceptive Cadence.” Vieaux was the first classical musician to be featured on NPR’s popular “Tiny Desk” series, on which he made a rare repeat performance in 2015 with Yolanda Kondonassis.

In 2012, the Jason Vieaux School of Classical Guitar was launched with ArtistWorks Inc., an unprecedented technological interface that provides one-on-one online study with Vieaux for guitar students around the world. In 2011, he co-founded the guitar department at The Curtis Institute of Music, and in 2015 was invited to inaugurate the guitar program at the Eastern Music Festival. Vieaux has taught at the Cleveland Institute of Music since 1997, heading the guitar department since 2001.

Vieaux is affiliated with Philadelphia’s Astral Artists. His primary teachers were Jeremy Sparks and John Holmquist. In 1992 he was awarded the prestigious GFA International Guitar Competition First Prize, the event’s youngest winner ever. He is also honored with a Naumburg Foundation top prize, a Cleveland Institute of Music Alumni Achievement Award, and a Salon di Virtuosi Career Grant. In 1995, Vieaux was an Artistic Ambassador of the U.S. to Southeast Asia.

Jason Vieaux is represented by Jonathan Wentworth Associates, Ltd and plays a 2013 Gernot Wagner guitar.

For more information, visit

Tags:  Jason Vieaux  premiere 

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Posted By Erin Young, Thursday, September 8, 2016




Second recording in a planned four-disc Naxos series featuring world premiere recordings

 of solo works by Spanish composers commissioned by Adam Levin


NEW YORK, NY – On October 14, 2016, Naxos releases 21st Century Spanish Guitar, Volume 2 [Naxos 8.573409], the second of four scheduled volumes on the label featuring award-winning American guitarist Adam Levin.  To create this series, Mr. Levin commissioned 30 new scores from four generations of living Spanish composers. Volume 2 includes world premiere recordings of eight new solo works by Leonardo Balada, Jesús Torres, Marc López Godoy, Luis de Pablo, Eduardo Soutullo, Jacobo Durán-Loriga, Benet Casablancas, and Juan Manuel Ruiz, plus a work by Antón García Abril that was dedicated to Mr. Levin’s friend and teacher, Gabriel Estarellas. The new recording was produced by GRAMMY-nominated recording engineer Norbert Kraft, edited by Bonnie Silver


As the sixth album in Mr. Levin’s critically-acclaimed discography, 21st Century Spanish Guitar, Volume 2 grew out of Mr. Levin’s three years studying, performing, and teaching in Spain through a generous grant from the Fulbright Program from 2008 to 2011, where he became aware of the tremendous transformations the country had undergone since the demise of the Franco regime. Though Levin was classically trained in the Spanish masterworks from the standard guitar literature, became increasingly passionate about developing and creating new literature for guitar by living Spanish composers. By the time Mr. Levin returned to the US in 2011, he had commissioned 30 new solo works from some of Spain’s most recognized and celebrated composers, alongside gifted emerging Spanish composers.    


The new album opens with Leonardo Balada’s (b. 1933) Caprichos No. 11: Abstractions of Granados (2014), the second of four works that the composer has written for Levin, the result of a growing friendship between the composer and the artist. As an homage to Granados’ twelve Danzas españolas, the work is an imaginative reinvention of the original piano scores drawn through Balada’s own modern lens.   Interiores (2010) by Jesús Torres (b. 1965) is an intimate one-movement soliloquy in which Torres balances the extroverted and introverted voices of the guitar.  One of Balada’s most esteemed students, Marc López Godoy (b. 1967) contributesAutumn Elegy (2012), opening with a radiant portrait of a starling’s seemingly effortless flight on a tranquil summer day, followed by music of deep melancholy evocative of the waning days of late August, concluding with a brilliant fast movement that harkens the turbulent onset of Autumn.


Celebrated Spanish master Anton García Abril’s (b. 1933) Dos Cantares(2010) was originally written for Levin’s friend and teacher, Gabriel Estarellas. Levin writes, “The first movement is reserved and elegantly composed with extended melodies, blooming one into the next… there follows a second movement at once taciturn and energetic, ahead of a return to the robust opening arpeggios.” Luis de Pablo (b. 1930), a winner of Spain’s National Music Prize in Composition, presents Ivory Tower (2013), a cerebral one-movement work that seeks to explore “the nobility of human purpose, purity of intention, and intellectual pursuit” in musical form, according to the composer. 


Adam Levin met Eduardo Soutullo (b. 1968) just hours before playing the world premiere of the work, I’ve Got You Under My String (2013), which was commissioned for Levin to play at the 2013 Festival Internacional de Música Tres Cantos. Levin immediately admired the composer’s style, reminiscent of Cuban and Japanese masters, Leo Brouwer and Toru Takemitsu. The three-movement suite Upon 21 (2012) by Jacobo Durán-Loriga salutes Baroque dances, with an opening fast-paced Courante, a visceral and minimalistic Chaconne, and an agile Gigue.  Benet Casablancas(b. 1933), another of Spain’s National Music Prize honorees, dedicated hisThree Pieces for Guitar (2011) to Mr. Levin.  Evolving from the second Viennese school, Levin notes, “Casablancas is bold, imaginative, virtuosic and highly personal… abrupt musical turns, grinding halts, electrifying jolts forward, then delicately balanced calm, impressionist brush strokes, and abrasive sforzandos… the piece winds down through a series of rhapsodic statements and agitated cascading music, leaving us gasping for harmonious resolution.” 


The album closes with Orión, a virtuosic twelve-minute tour-de-force byJuan Manuel Ruiz.  Levin was introduced to the composer through his orchestral music: scores of immense scale and intensity of sound. Levin challenged Ruiz to bring that sense of orchestral grandeur and potency to the modest voice of the guitar. Levin says, “Unflinchingly, he composed this work, which draws upon most every sonic and technical possibility the guitar has to offer.” 




Adam Levin: 21st Century Spanish Guitar, Volume 2 [Naxos 8.573409]


1.       Leonardo Balada (b. 1933): Caprichos No. 11: Abstractions of Granados(2014)*

2.       Jesús Torres (b. 1965): Interiores (2010)*

3.       Marc Lopez Godoy (b. 1967): Elegía Otoñal (Autumn Elegy) (2012)*

4.       Anton García Abril (b. 1933): Dos Cantares (2010)

5.       Luis de Pablo (b. 1930): Turris Eburnea (Ivory Tower) (2013)*

6.       Eduardo Soutullo (b. 1968): I’ve Got You Under My String (2013)*

7.       Jacobo Durán-Loriga (b. 1958): Upon 21 (2012)*

8.       Benet Casablancas (b. 1933): Tres piezas para guitarra (Three Pieces for Guitar) (2011)*

9.       Juan Manuel Ruiz (b. 1968): Orión (2010)*

* World Premiere Recordings


In celebration of the album’s release, Mr. Levin will be performing works from his Spanish collection alongside works by past Spanish masters in three important concerts in Washington, DC, Chicago and New York City.  OnOctober 22, 2016, 2 pmLevin performs at the Former Ambassadors Residence, Embassy of Spain in Washington, DC, co-presented by the National Fulbright Alumni Association (already sold out).  On November 20, 2016, 7:30 pm, Levin performs at the Art Institute of Chicago as part of the2016 Chicago Latino Music Festival.  In early December, Levin will return to New York’s Le Poisson Rouge (date to be announced).   




Adam Levin has been praised by renowned American guitarist, Eliot Fisk, as a “virtuoso guitarist and a true 21st century renaissance man with the élan, intelligence, charm, tenacity and conviction to change the world.”  Levin has performed across the United States at renowned venues such as Chicago’s Pick Staiger, Nichols, James Lumber Performing Arts and Mayne Stage concert halls, Boston’s Isabella Stewart Gardner Museum, Museum of Fine Arts, and Jordan Hall, Spivey Hall in Atlanta, Le Poisson Rouge in New York City. In Europe, Levin has performed in some of the finest venues across Spain, and in Italy, Germany, and Switzerland.  Adam Levin’s live performances have been featured nationally numerous times on NPR’s Performance Today and on top radio stations WFMT Chicago and WCRB Boston.


In the 2015-2016 season, Levin made solo appearances at Boston GuitarFest in a program highlighting composers of Spain, as well as concerts in Pittsburgh, Detroit, Kansas City, Knoxville, Des Moines, South Bend, Chapel Hill, Richmond, and San Jose, plus international tour appearances in Canada, Spain, and Puerto Rico. Levin also made his Kennedy Center debut in November, 2015, in a diverse solo and chamber program presented by Pro Musica Hebraica, featuring the Amernet String Quartet and mezzo-soprano Rachel Calloway, praised by the Washington Post as “a visceral and imaginative performance.” Levin appeared as a special guest artist in new music programs with the Quantum Ensemble of Spain, and a concert featuring the music of Leonardo Balada (with the composer present) with Ensemble Concept/21 at Indiana University South Bend.


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. For his promotion, interpretation and performance of Spanish music, he was nominated for the 2011 Trujamán Prize, in which only three guitarists worldwide are selected annually.


From 2008-2011, Levin was honored as a Fulbright Scholar as well as grant awards from the Program for Cultural Cooperation Fellowship (promoting cultural understanding between Spain and the United States) and the Kate Neal Kinley Fellowship, to research contemporary Spanish guitar repertoire in Madrid, Spain. His three-year residency resulted in a major collaboration with 30 Spanish composers spanning four generations, who each wrote works commissioned by and dedicated to Levin.  In 2012, production began on a four volume encyclopedic recording project with Naxos.  The first recording in the series, 21st Century Spanish Guitar, Volume 1, was released by Naxos in 2013 to rave reviews from Classical Guitar Magazine, Soundboard, American Record Guide, Scene Magazine and bothRecording of the Month and Recording of the Year awards from MusicWeb International. 21st Century Spanish Guitar, Volume 2 will be released by Naxos in October, 2016, with special solo concerts scheduled in Washington, DC (presented by the Spanish Embassy and National Fulbright Alumni Association), the Chicago Latino Music Festival at the Art Institute of Chicago, and New York’s Le Poisson Rouge.


Levin’s critically acclaimed discography also includes his debut album, In the Beginning[ALR, 2009], Music from Out of Time [La Communidad de Madrid, 2010] featuring world-premiere solo and chamber works by contemporary Spanish composers; and Fuego de la Luna [Verso, 2011] showcasing the complete guitar works of Spanish-Cuban composer Eduardo Morales-Caso.


An avid chamber musician, Levin has performed with orchestra, string quartet, and various instrumental and vocal duo combinations.  His primary chamber ensemble, Duo Sonidos, has been celebrated for bringing a fresh interpretation of chamber music to wide-ranging audiences across the globe while expanding the repertoire for violin and guitar through new commissions. In 2010, Duo Sonidos was awarded first prize at the Luys Milán International Chamber Music Competition in Valencia, Spain.  Their 2010 self-titled debut recording received rave reviews from Classical Guitar Magazine, Soundboard, American Record Guide, Fanfare, and included a US Choice award from BBC Music Magazine.  The duo also will record their second disc featuring folk‐inspired works by Béla Bartók, Xavier Montsalvatge, Karol Szymanowski, Lukas Foss, Jorge Muñiz, and other newly arranged works by Gregg Nestor. With their commitment to perform also in non‐traditional venues, Duo Sonidos will also present a special program of works by Jewish composers and non‐Jewish composers inspired by Judaism across the United States.


As an ambassador of the guitar, Mr Levin is dedicated to sharing a comprehensive repertoire in underserved and unconventional spaces.  He was director of the Concert for Golf Coast Aid for Hurricane Katrina victims, which raised $10,000.  In 2007, he was awarded the Albert Schweitzer Fellowship to conduct 200 hours of innovative community work in Boston public schools, prisons, and rehabilitation centers.  Demonstrating his long-term commitment to music advocacy, Levin and acclaimed guitarists, Matthew Rohde and Scott Borg, launched Kithara Project ( in 2015, a non-profit organization devoted to promoting the widespread and equitable access to the guitar worldwide.

A native of Chicago’s North Shore, Adam holds bachelor’s degrees from Northwestern University in Music Performance, Psychology, and Pre-Med. Under the tutelage of Eliot Fisk, Levin completed his master’s degree in guitar performance at New England Conservatory in Boston. His esteemed teachers have included Oscar Ghiglia, Gabriel Estarellas, Anne Waller, Mark Maxwell, and Paul Henry. Adam is the director of the annual Boston Young Guitarists’ Workshop (, which will expand to weekends throughout the academic year culminating in the Boston Guitarfest.  Levin is on the faculties of the University of Rhode Island and the University of Massachusetts at Boston. Adam Levin is a D’Addario Artist and performs on a guitar by luthier Stephan Connor.


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Guitarist Jason Vieaux and Bandoneónist Julien Labro Release New Album - Infusion

Posted By Erin Young, Thursday, September 8, 2016

Guitarist Jason Vieaux and
Bandoneónist Julien Labro

Release New Album Infusion 
Available October 28, 2016
 (Azica Records)


Music by Leo Brouwer, Radamés Gnattali, Astor
Piazzolla, Pat Metheny, and Tears for Fears


Watch Jason Vieaux and Julien Labro Perform
Pat Metheny’s Antonia Live at WQXR:

“The dynamic duo performed from one musical mind…perfectly in sync…a lot of fun” – Cleveland Classical

“Crossing genres and audiences is what these two do and do superbly” –Boston Musical Intelligencer |

New York, NY — Grammy-winning guitarist Jason Vieaux and internationally acclaimed composer, bandoneónist, and accordionist Julien Labro will release their second duo album, Infusion, on October 28, 2016 on Azica Records. Infusionincludes Julien Labro’s arrangements of Leo Brouwer’s Tres Danzas Concertantesand Piazzolla’s Escualo, his arrangement of Radamés Gnattali’s Suite Retratos with bassist Peter Dominguez and percussionist Jamey Haddad, Pat Metheny’s Antonia, and Vieaux’s arrangement of iconic 1980s British rock band Tears for Fears’Everybody Wants to Rule the World. Vieaux and Labro will perform Piazzolla’s Double Concerto with the Arkansas Symphony in September 2016.

The combination of arranged pieces with original through-composed material epitomizes Vieaux and Labro’s versatility and ability to wear multiple hats, blurring the boundaries between composer, performer, improviser, and arranger, and creating an uncommonly fluid musical product. Guitarist Dan Lippel’s liner notes expand on this subject, noting that “Hermeto Pascoal, Astor Piazzolla, and Egberto Gismonti all come to mind as musicians who have worn many hats, and have enjoyed broad appeal while defying easy categorization on a popular-serious continuum. When I listen to Vieaux and Labro play Gnattali or Piazzolla, Metheny or Tears for Fears, I hear several threads all at once – captivating music from various traditions that doesn’t fit neatly in a box, and two artists who push beyond the conventional roles of classical performance and get their hands dirty as arrangers and improvisers. But more than anything else, I hear the joyful sound of music infused with new ideas and vibrant energy. What better musicians than Vieaux and Labro, both of whom have backgrounds as arrangers and improvisers, in addition to being virtuoso instrumentalists, to tackle music that asks for a broad set of tools across the spectrum? And what better repertoire to absorb their infusion of influences?”

Vieaux and Labro released their debut album, The Music of Astor Piazzolla, with A Far Cry Chamber Orchestra on Azica Records in 2011. Of the album, The Cleveland Plain Dealer wrote, “Jason Vieaux adds to his list of stellar recordings with this alluring program of works by Argentina’s master of the tango. The music seduces the listener as Vieaux and bandoneon player Julien Labro weave sinuous lines…The irresistible performances and crystal-clear sound…make this a don’t-miss disc.” Listen to their recording of Piazzolla’s Histoire du Tango here:

Jason Vieaux and Julien Labro: Infusion | Azica Records | Release Date:October 28, 2016

Jason Vieaux, guitar; Julien Labro, accordina, accordion, bandoneón; Peter Dominguez, bass (tracks 5-8); Jamey Haddad, drums, percussion (tracks 5-8)

1-3. Tres Danzas Concertantes - Leo Brouwer (arr. Julien Labro)

  1. Allegro
  2. Andantino (Quasi Allegretto)
  3. Toccata

4. Antonia - Pat Metheny

5-8. Suite Retratos - Radamés Gnattali (arr. Julien Labro based on Rabello’s version)

  1. Pixinguinha
  2. Ernesto Nazareth
  3. Anacleto de Medeiros
  4. Chiquinha Gonzaga

9. Escualo - Astor Piazzolla (arr. Julien Labro)

10. Everybody Wants to Rule the World  - Words and Music by Roland Orzabal, Ian Stanley, and Chris Hughes (arr. Jason Vieaux)

About Jason Vieaux
Grammy-winner Jason Vieaux, “perhaps the most precise and soulful classical guitarist of his generation” (NPR), is the guitarist that goes beyond the classicalHis solo album, Play, won the 2015 Grammy for Best Classical Instrumental Solo.

Vieaux has earned a reputation for putting his expressiveness and virtuosity at the service of a remarkably wide range of music. Recent and future highlights include performances at the Caramoor Festival, Philadelphia Chamber Music Society, Amsterdam’s Concertgebouw, Ravinia Festival, New York's 92Y, Chamber Music Society of Lincoln Center, Bard Music Festival, Music@Menlo, Strings Music Festival, and many others. He has performed as soloist with over 100 orchestras and his passion for new music has fostered premieres by Avner Dorman, Dan Visconti, Vivian Fung, José Luis Merlin, and more. Vieaux continues to bring important repertoire alive in the recording studio as well, and has previously released thirteen albums, most recently Together with harpist Yolanda Kondonassis. Vieaux recently recorded Ginastera’s Sonata for Guitar for a Ginastera Centennial album which will also be released in October 2016 on Oberlin Music.

In 2012, the Jason Vieaux School of Classical Guitar was launched with ArtistWorks Inc., an unprecedented technological interface that provides one-on-one online study with Vieaux for guitar students around the world. In 2011, he co-founded the guitar department at The Curtis Institute of Music, and in 2015 was invited to inaugurate the guitar program at the Eastern Music Festival. Vieaux has taught at the Cleveland Institute of Music since 1997, heading the guitar department since 2001. In 1992 he was the youngest ever winner of the GFA International Guitar Competition. Vieaux was the first classical musician to be featured on NPR’s “Tiny Desk” series. For more information, visit

About Julien Labro
Heralded as “the next accordion star” and “a triple threat: brilliant technician, poetic melodist and cunning arranger,” (Chicago Tribune) Julien Labro has established himself as one of the foremost accordion and bandoneón players in both the classical and jazz genres. His artistry, virtuosity, and creativity as a musician, composer and arranger have earned him international acclaim.

French-born Labro was influenced early on by traditional folk music and the melodic, lyrical quality of the French chanson. After graduating from the Marseille Conservatory of Music, Labro began winning international competitions, including the Coupe Mondiale, the Castelfidardo Competitions, and many others. In 1998, Labro moved to the United States, where he earned two graduate degrees in Composition and Jazz Studies; and was exposed to and embraced music ranging from jazz, pop and hip-hop to electronic/techno, avant-garde and rap, as well as Latin, Indian, Asian, Middle Eastern, and other types of world music.

He has shared the stage and/or recorded with a myriad of eclectic artists including João Donato, Cassandra Wilson, Marcel Khalife, Miguel Zenón, Jon Irabagon, James Carter, Chris Cheek, Tommy Emmanuel, Bucky Pizarelli, Frank Vignola, and Fernando Otero to name a few. Labro has played for audiences throughout the Americas, Europe, Asia, and the Middle East, where he recently premiered his own accordion concerto, Apricity. He has been enlisted as an arranger and/or soloist by numerous ensembles, including A Far Cry, Spektral Quartet, Curtis On Tour, Ensemble Vivant, Detroit Symphony Orchestra, Arkansas Symphony and many more. When not on tour, he can be found frequenting the NYC jazz scene. For more information, visit


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