The 8th Upstate Classical Guitar Society Fall Festival 2008

The 8th Upstate New York Guitar Society Fall Festival
Don Witter,Jr.

I must apologize for the extremely late arrival of this report to the newsletter which has caused the printing to be delayed but for me it was most special event as it was my 7th Festival and my dear friend and extraordinary musician Antonio Carlos-Barbosa Lima was our guest artist. In the afternoon we also had a special one hour concert by one of the finest exponents of our craft, the Virtuoso Artist Lily Afshar who took us on a great trip musically and aurally with her incredible playing. The Festival had a couple of excellent changes to the event this year which were moments of great genius I thought!

To start our festival, Society president Dennis Turecheck gave an information packed Lecture/Demo on Playing Jazz on the Classical Guitar. There were 8 piles of papers at the edge of the stage. One pile of the Bossa Nova hit "The Gentle Rain" by Luiz Bonfa and the other 7 piles devoted to guitar layouts of various ways of looking at the guitar in Jazz Context. Essentially the information on these sheets is all "Meat and potatoes"! No sugar pills here kiddies! The following list is the blow by blow of the info contained on these heavy layouts: 1) Major Diatonic Modes ( 3 notes per string) root position , 2) 2,5,1 Progressions in Root Position , 3) 2,5,1 Progressions in minor 4) Drop 2 Chord Voicings C6 or A minor 7th 5) 2,5,1 Progressions ( 5 substitutions ),
6) 2,5,1 Progressions ( in minor w /5 substitutions ), 7) 2,5,1 Progressions ( Quick Resolutions).

Dennis Turecheck was my 1st Guitar Teacher and what an incredibly awesome start I had in training under him.He guided me in so many ways as he harnessed all my talent in such a thoughtful and caring way. I would have to say that at my age (58) I continue to feast off of the great direction Dennis first instilled in me and after his lecture would have loved to have spent the rest of the day going over the rest of the material with him. Not one word was wasted in his lecture. To have such an enormous amount of information dispensed at such an early hour left our eyes and minds dragging on the floor but my bloodless cassette recorder came to the rescue as I spaced out like a deer in the front of headlights! Since that lecture I have reviewed the covered material several times to cement the information.

Like last year, our 1st member performing was BOB DONAHOE who performed works by Garoto, Reis and Villa-lobos stating that the common thread uniting these three pieces was that they were solos published by Brazilian Composers in the 1950s. Bob has true feeling for the Brazilian Guitar repertoire as last year in start off position, he delivered a series of arrangements by one of my former teachers and influences Laurindo Almeida. As he rose to leave the stage he uttered " I must be your typical Classical Guitarist because everything Dennis said ( in the preceding lecture on Jazz on the Classical Guitar) was over my head! This comment was a affirmation on the difference between a Jazz Guitar Player who must know everything about Theory and Harmony to function as a Jazz Guitarist who "composes on the spot" as opposed to the Classical Guitarist who just plays the most polished performance of the notes on a page of music. What pure intent Bob continues to bring to the performance stage! RICHARD OSBORNE took us further into the world of Brazilian guitar as he beautifully introduced us to etudes by Ulisses Rocha, a Milonga by Jorge Cardoso, and prelude by Alfonso Montes. He informed us that he studied the Etudes with Rocha and for me that was evident in his lovely interpretations. If I remember correctly, Richard won the silent auction of these Rocha works last year. I put in a couple of bids myself because I saw how interesting they were. His grouping was beautifully executed and very enjoyable.

New for this year was a stroke of genius in that the remaining morning schedule through to lunch break was an INFORMAL ENSEMBLE in which groups joined to read through some music. This was great fun for me and others who joined us onstage for some simple yet pleasing arrangements of folk,Christmas, and Fernando Sor Trios. Since several of us in this group improvised, we took a couple of Jazz Standards and took turns going around the circle for a great exclamation point on this joyful gathering of musical spirits. I do hope this remains a part of the festival because we all enjoyed it so much.So many of us never venture outside of that SOLO CLASSICAL GUITAR WORLD! After all there is no "Orchestra " for Guitarists. Making music with others is a most important part of training the total musician because it teaches us so much about playing together in time and aspects about phrasing. I really had a great time in the group and look forward to repeating this experience next year. In case you want to dabble in the treat, check out the following site for source material ( Thanks to the wonderful SAL SALVAGGIO for e-mailing us the site info before hand!) www.eythhorsson.com
Our post lunch series of performances continued with DAVE RICHMAN'S delivery of a lovely set of pieces by Mudarra and Villa-Lobos omitting the Handel and Bach originally listed on the program. I would imagine that he decided to nod to music from our guest's artist homeland of Brazil in playing the Choro/Valsa from the 5 Movement Popular Brazilian Suite of Villa-Lobos. I particularly enjoyed his interpretation of the Prelude # 1 in which he made some nice use of rubato that made me look at this often played piece in another light. It was a little slower than usual which aided in his particularly insightful explorations.
SPIRAL TANGO is the name of an exceptional Flute and Guitar Duo of ELIZABETH WILLIAMS and my dear buddy WILLIAM SIMCOE. I always look forward to anything WILLIAM SIMCOE does as he is one of the real treasures in this neck of the woods! He is the total artist who just glows music. He has a wonderful energy and easiness that allows him to be the perfect vessel for any music he plays. He only works with the best in the area and on this occasion his duo partner ELIZABETH WILLIAMS just fitted the duo with a gorgeous Flute tone and winning musicality. Their opening piece by Marcos Vinicius, was their 1st performance of that composition ( we were informed after their easy and successful completion) and it was as though they were playing that lovely intro forever. Bill then gifted us with a couple of delicious solos - another piece by Marcos Vinicius entitled SERRADO which was followed by his arrangement of OBLIVION by Tango Master Astor Piazzolla. Ending their stay on stage was an arrangement for duo of Piazzolla's VERANO PORTENO. As I have stated in my previous reports, WILLIAM SIMCOE is a treasure trove of musicianship. His very sensitive playing brings you into the heart of whatever music he is playing. Always performing with beautiful tone and an easy virtuosity, you can just lay back and enjoy. When put in the seat as an accompanist , you are rest assured that he gives just the perfect volume and tone to the instrument he is in duo with. Sensitive with each note, when I review this musician, I would hope that those of you in this area would run to any of his concerts because he is such an excellent musician and deserves wider recognition. Thanks again BILL for another great stay on stage!!!
GIANCARLO SIDOLI is a student of my dear teacher DENNIS TURCHECK and he is on the road to becoming a great talent to watch. Last year was my 1st exposure to him and he is secure and solid in his performances and always gives a little background of the compositions for the audience. He started off with a lithe Sonata by Domenico Scarlatti -K.377 . I have never heard this one but it was basically two lines. Giancarlo gave a nice straight forward propulsion to the music. He originally listed on the program that next up would be 3 Waltzes in duo with Janet Sutta , but that was deleted. He completed his portion of the festivities by playing two movements from the CAVATINA SUITE by Polish Composer ALEXANDRE TANSMAN who composed this suite for Segovia. GIANCARLO played the opening Prelude and the Barcarole. I also studied this Suite with Dennis when I was his student several decades ago and it remains as strong and vibrant now as it was then and still so neglected by my colleagues. I heard during the day that congratulations are in order as GIANCARLO was a newly selected board member!! The Barcarole was just a bit on the slow side but he continues to mark himself as an artist to look forward to. He has been as student of Dennis for the last 3 years and I feel our kinship and wish him only the best in all he continues to tackle because he has all if the right stuff! NICE JOB GIANCARLO!. At one point during the day he approached me in an effort to find out what I thought of his performance which underscores how totally he is dedicated to the craft! I loved it! YOU GO GIANCARLO!!!!
The "PUFF AND PLUCK CONSORT" treated us to a concert of Music from the Renaissance. Composed of
SAL SALVAGGIO on Lute and Baroque Lute, MARILYN ROPER and RENE PRINS on winds and PAULA SCHAEFFER on Viola da Gamba, we had a glorious and joyful romp through compositions by Henry the VIII, Anthony Holborne,Michael Praetorious, ANON ( a most popular composer from this period ) and Andrea Falconieri! The festivities started with RENE PRINS walking down the aisle playing the period bagpipe which made the audience immediately perk up with delight as we were guided back to this earlier period with joy .There is so much fun in this sort of group where they just give us such a great taste of the period aided by their period clothes! SAL SALVAGGIO must be hugged with love for bringing us the joy of this early period music each year in different combinations. Again this man is one of the great artists in this neck of the woods who should have a great following for his incredibly gifted musicianship! Later on in the afternoon, the Town of Oneonta was celebrating it's Birth and I saw one of the Consort members playing on one of the floats!! It was either MARILYN or PAULA! WAY TO GO!
THE FABULOUS TOM RASELY was our master of ceremonies for the day and as usual, gave us his completely magical variety of virtuosic renderings on the guitar during his set in which he performed a couple of his own works,and pieces by Hans Leo Hassler,W.A. Mozart and Gustav Holst. All delivered with the usual fun loving wit of this born performer! If you get a chance , be on the lookout for anything he writes about in the guitar magazines. His ability to relay thoughts clearly and crisply is a joy to behold. I've read several of his excellent articles in ACOUSTIC GUITAR MAGAZINE over the years and must pat him on the back for the excellent job he always does! He is another one whom I look forward to experiencing because he is such and exceptional artist and thoughtful human being. He is a board member who is always thinking of the best for the society and took the time out to acknowledge the woman who is a SUPER DYNAMO- GAIL HAMILTON. Gail is the person who started the Guitar Society of Upstate New York 8 years ago and she continues to tackle the world with an enthusiasm that leaves all in the dust. She also has the patience of a saint this year as several deadlines have passed for this report and I appreciate her not sending the "FESTIVAL REPORT POLICE after me!
DON WITTER,JR. - ME decided to continue the Brazilian Guitar with the 3 super virtuoso's of Brazilian Guitar History - LUIZ BONFA, BADEN POWELL and LAURINDO ALMEIDA. I decided to be super relaxed and devoted my Bonfa set to DENNIS TURECHECK's lovely wife Christina and described to the audience how I was there when they 1st met at the Music School at which I was his student and Christina was teaching piano. I also let the audience know how special this festival is in my life. I have been here 7 out of the 8 years it has existed missing only the 2001 festival due to my forgetting about it and booking concerts that weekend. I am still hoping to have a special report printed in the Mel Bay Sessions on my 7 years of the Festival. I dedicated my Laurindo Almeida set to the man who began our day of concerts the last two years - BOB DONAHOE because he loves the works of my great teacher LAURINDO ALMEIDA and did a lovely collection last year of arrangements by Laurindo!! I also mentioned to the audience that in another hour they will be exposed to one of the great artists on our guitar scene - LILY AFSHAR, the great Persian virtuoso!! I then alerted them to our main Artist the legendary ANTONIO CARLOS BARBOSA LIMA who I have known since 1967 when he gave his 1st New York concert! I told people to go out into the streets and grab people to come in and experience both LILY and CARLOS!!!
FRED HELLWITZ gave a series of "to be announced " and armed with a wonderful Rameriz Guitar and custom made stool , proceeded to give a most solid and beautiful performance of BACH and BARRIOS. His BACH was wonderfully conceived and executed. Surely this was one of the really special outings of the day. Fred is a Doctor and you could tell that by the care he devoted to preparation of the pieces. He also took time to thank the main people in the society for allowing him to play. He mentioned that he doesn't play as much as he would like to but what an excellent artist he is!. As I said earlier, his Bach was really top notch and his Barrios was played (3rd movement from The Cathedral ) with verve and great bite!
LILY AFSHAR is one of our great virtuosos and we were lucky to get her for our festival. She choose world music repertoire from her cds and what a treat to visit several cultures with such and absolute virtuoso. She began with a TURKISH piece - KARA TOPRAK (Black Earth) by Asik Veysel - has to do with loving the earth of your country.She went on to talk about her use of quarter tones in this piece ( there are two special frets on her Thomas Humphrey Millenium Guitar that allows her to play these quarter tones).Her 2nd piece was taken from the Caprichos de Goya by Mario Castelnuovo-Tedesco. She gave her dissertation on the Caprichos de Goya and about a decade ago I was at a concert at Rose Augustine's Town House in which she played the Caprichos ( 24 ) aided by the Photographs on which the pieces were based. This Capricho performed today, was about a woman to be executed. It is in the form of a theme and 7 variations. Next on her program were two Persian Ballads she arranged for Guitar which does not use quarter tones as in traditional Persian Music as these are two love songs. They are published in a collection of 5 Ballads by MEL BAY. In fact if you look at the Mel Bay Web Magazine www.guitarsessions.com for the month of November, you will find a write up on the Ballads and also a clip from her performance DVD.The Invocation and Dance by Rodrigo was us next and Lily just gave us a stunning version of this magical piece in the Guitar Repertoire.The piece was used as a mandatory competition piece in the late 60's and early seventies at the Major competitions around the world. Another flawless interpretation from her hands. To finish her brilliant hour performance was the great KOYUNBABA SUITE by Italian Composer/Virtuoso Guitarist Carlo Domeniconi. I was fortunate to be in Germany in the early 90's when Carlo performed and taught at the FRECHEN INTERNATIONAL GUITAR FESTIVAL run by my brother virtuoso HUBERT KAPPELL. This piece was a required competition piece so I got a chance to hear a ton of performances of the work. I also in 1987 picked up an LP in Germany of Carlo playing the Suite.The Suite is composed of 4 movements and is a joy to play. I quickly learned 2 out of the 4 movements but yet have to complete the other two. The tuning is a special one C sharp minor. The last movement is the most hair raising as it interprets a rain storm. The thematic material is based on Turkish Music as Carlo has spent most of his life living in TURKEY.Lily gave us a very sensitive and moving performance of this work especially the flamboyant final movement which can have you jumping up and down the fretboard like a headless chicken. I liked what Lily did in that she did not attack the last movement in the up and down manner that it is usually performed. She chose to finger this explosive movement across the fretboard in position which I thought was a great idea and very efficient.For me it was the finest performance outside of Carlo of this lovely work.WHEW~!!! THAT LILY CAN PLAY A MEAN GUITAR!!!! If you ever see her name you must run to her performance to taste an exceptional artist! DON'T MISS HER!!!
https://umdrive.memphis.edu/lafshar/www

Antonio Carlos Barbosa Lima in Concert

When I heard that the Society somehow got Carlos Barbosa Lima to be the headline, I had to be there!!! I have been a rabid fan of Carlos since 1967 when I first heard him in his debut New York Concert under the auspices of the Brazilian Embassy! A child prodigy has grown into a legendary artist.His performance at the festival was loaded with magic and mesmerizing moments of great music making.He opened his program by playing the prelude from a Suite in Ancient Style by GUIDO SANTORSOLA ( Uruguay ). This prelude is just the right piece to open with as it flows so beautifully in an extended series of arpeggios. This was followed by two pieces by Ernesto Nazareth - Carioca and Odeon both arranged by Carlos as most of the evening displayed the magical and intricate arrangement style of the Guitar Magician. Playing on a 2002 Richard Prenkert Cedar Guitar, we sat and marveled at this man of "A thousand Fingers". Such an incredibly clean and precise technique coupled with the highest musicianship gave those in attendance a special gift they will never forget. The 1st half had works of Villa-Lobos,Ernesto Cordero,Augustin Barrios and Gershwin. All winning performances. The pace of each piece was so perfectly conceived and executed.No matter how many lines were in motion at any time, justice was apply given to whatever was the predominant thematic material and the tone was also perfect.In the second half of the great concert we were given more delicious soul pleasing works by : Madriguera,Yasui, Lecuona,Montana, Pixinguinha, Barroso , Lauro and Jobim! The only encore performed was a delicious arrangement of the famous TICO-TICO which ended an exceptional concert enjoyed and treasure by all in attendance!

The Carlos Barbosa Lima Masterclass

Before I get to the wealth of information shared with us by this great artist, I must say that I was disappointed at how few people showed up to take advantage of this exceptional artist and his wealth of great knowledge! Only a hand full of people took part in this Sunday morning Master class but what can you do! The main point stressed in the masterclass was keeping an unbroken phrasing by adjusting the fingering to make the phrasing flow. He spoke about tone color being used to make any repeat of phrasing more interesting on the repeats and to end the masterclass with the last excellent student, he gave us a tutorial in the history of CHOROS by playing through the history of this very important dance form from Brazil! What an incredible treat this was!! I will submit a separate piece on the details of the masterclass for you as I believe there were so many great points covered that I want to make sure I didn't miss any and it would be great for you to be able to chew on some great ways to improve your playing!
Till next year, get ready for this fabulous festival and again, please forgive me for delaying this report. There is so much I want to pass on to you about this festival and will in following reports!

- Don Witter,Jr.