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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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Lanciano International Guitar Seminar

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

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Announcing: Volterra Project

Posted By Administration, Monday, April 24, 2017
For more information please visit: This year we also have a full scholarship for American students (deadline APRIL 28, 2017).

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Semi Finalists Announced for Salzburg GuitarFest

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

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

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

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The Unorthodox Guitar: A Guide to Alternative Performance Practice

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

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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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