Mannes Guitar Seminar-Opening Night Concert-2013 day # 1

The 13th New York Guitar Seminar at MANNES " Be a Player" kicked off this year's Festivities at the AMERICAS SOCIETY/ 68th street and Park Avenue and is was a sold out crowd!! The theme tonight was "GUITAR MUSIC OF THE AMERICAS" and featured Zaira Meneses ( Mexico ), Carlos Barbosa-Lima
( Brazil ) and a mesmerizing trio of Francisco Roldan,Guitar ( Colombia ),Carlo Valte, Oud ( Philippines) and Rex Benincasa, percussion ( USA ) .Zaira Meneses ( who is the wife of legendary Eliot Fisk ) started off  the evening by playing 3 pieces in the style of Weiss by Mexican composer Manuel M.Ponce. Attired  in a beautiful aqua blue gown she seemed to be just a little cautious in the 3 movements but exhibited an interesting interpretational  slant to the movements.I know this from the early days of my introduction to Maestro Segovia's recording. Zaira's insight was an interesting change of phrasing. Her instrument was a Cedar topped guitar which pretty well gave her what she wanted. I had to laugh a little inside as she pulled us into a false sense of quiet and tameness with the Prelude and Balleto then "unleashed the hounds for the Giga. There was an unbridled ferociousness that a couple of times almost got away from her but she reined it in. Her second choice was the devilish 3 movement Sonata of Cuban Virtuoso guitarist/composer LEO BROUWER! Zaira's interpretation of these 3 movements was "Out of this World" and was the finest performance I have heard bar none! It ranks up there with Julian Bream's recording. Pin point accuracy in note articulation was the order of the day! I really,really,really enjoyed her flawless execution and musicality! I am excited even now as I write up this post.Being in the front row center, I watched her dissect  the fingerboard with the accuracy of a surgeon! It was a glowing performance that made the audience wild. I have heard Zaira several times over the last several years and her performance of Brouwer's Sonata "rocked my world ". It had a bite that reminded me of the ferocious attack of her husband Eliot Fisk! WHEW!! She informed us that her choice of the Sonata was due to the fact that her mother is Cuban. She offered one encore- A Spanish/Mexican song that spoke of the strength of womanhood which opened with an accompaniment of harmonics. I bring up the execution of harmonics because she played the best balanced harmonics during her execution of the Brouwer Sonata. Too many guitarists throw away poorly balanced harmonics carelessly. Even some of the best artists have done this so this shows a very sensitive touch on her part and I heavily applaud this portion of her technical arsenal. By the way the song was gently sung in an innocent  voice whisked with the air of a floating cloud.She earlier made a comment about her being a woman and how women Guitarists were too often perceived as "Delicate" performers, Zaira showed us that she has it "ALL"- suave and gentle delicacy and a brute force volcano when the music calls for it!

Next up on the concert stage was one of the truly awe inspiring legendary Guitar Monsters of all times- ANTONIO CARLOS BARBOSA-LIMA! I have known Carlos since I believe 1968 when he gave his New York Debut presented by the Brazilian Embassy. I remember it as though it was yesterday because that debut had several repercussions for a great guitarist JOHN VARNER. John had just given his New York debut concert at Carnegie Recital Hall and got a glowing review in The New York Times. John was going to play several pieces that Carlos was playing so they -whoever the powers that be at this time heavily leaned on John to change his program so the Carlos debut would shine and John had to play some pieces that were not ready for concert platform consumption. I felt terrible for John. Carlos, of course was a Guitar Monster since he was a kid and over these several decades I have been able to hang out with him at various festivals and events and he continues to play as though he has the "MIDAS TOUCH"! His arrangements for guitar are supreme gems of outrageous ingenuity. He has so many intricate lines going on mixed with harmonics out of nowhere! Our front row just "ATE IT UP"!!! Since I have known and studied with the finest Classical and Jazz Guitarists in history, I can easily say that it is a true privilege and plum pleasing pleasure to watch Carlos spin that magic that only he can spin on our great instrument. For my money the two greatest arrangers in our Classical Guitar field is Carlos and my dear friend and colleague ROLAND DYENS. Carlos has such total command of what the instrument is capable of that he has you dropping your jaw in amazement at the ease in which he produces "Finger tongue twisters in front of you'!!!! We just look at each other, laugh in a "DID YOU SEE THAT" face and clammer for more. His selections tonight were gleamed from several gems of Latin American culture all of which are on his past few cds. Works were from Mexico,Spain and Brazil and his excellent Prenkert Guitar served him perfectly. As I mentioned earlier, watching Carlos work is and added joy as his great palette of tone produced with his right hand produces the perfectly articulated notes in balance,volume and tone that keep several lines in perfect balance.He also produces great effects of Brazilian instruments mixing Harmonics and Pizzacatos ( as in Aquarelles do Brazil ) This reminds me of the other "effects man from Brazil - LUIZ BONFA whom as a child Carlos studied with.I myself took a couple of lessons with Bonfa when he stopped by Mannys Music Store on 48h street. I suggest you jump on You Tube to experience the flawless playing of both Carlos and Luiz!

Rounding out this great night of opening concert treats was an absolutely stunning and unusual trioof Guitar,Oud and Percussion with Francisco Roldan/Guitar, Carlo Valte/ Oud and Rex Benincasa/Percussion, They weaved a wand of gently flowing mixtures of different rhythms by Lebonese composer Marcel Khalife ( Danse 1,5 & 3 ) and a composer from the Dominican Republic ( who was in the house and received an appreciative round of applause ) Rafael Landestoy ( born in 1925 !!). All three of the dances by Khalife floated on air and this trio was extremely tightly knit. The Oud player, Carlo Valte informed us that the music was for percussion and 2 Ouds so he had to arrange it for Guitar and as far as I was concerned it was perfectly realized in the fingering choices made. Let me also tell you that throughout these 3 dances by Khalife, the trios pin point accuracy was totally amazing! The tone quality on the guitar played by Francisco was perfectly realized to math the weight of the notes of the Oud played by Carlo. Of course the Oud does not have the volume of Guitar and uses a plectrum over a set of double strings but what an enjoyable cornucopia of sound and that blunt attack of the pick adds great bite to the rhythm and melodic line. I remember Francisco Roldan from over 20 years ago when we both performed on a concert series sponsored by the American Institute of the Guitar. It is here somewhere in this terrible looking front room of mine. Francisco was as perfect as can be producing extremely beautiful and solid tone all evening and I was amazed at how perfectly these great musicians were " pin point perfect ". The Dances popped with excitement and I am so happy my wife forced my wimpy butt out because she knows how deeply I am devoted to this instrument and know that even when I feel like crap, the Guitar switches me into YEAH YEAH MODE! Thanks Honey.

This year I attend the seminar just as an auditor since I did not know what kind of shape I would be in. I have suspended my "Music Under New York" gigs as this is my 17th year of non stop performing in public events and I really deserve to give myself a rest. I am eagerly looking forward to the next 5 days of forums as my days of performing may be only 30 years to go or so! Here I am at 63 performing like a young 18 year old. I have been checking out recordings of concerts I did in and around the City and I took things at warp speed sometimes and still have the same chops ( even better ). This seminar will fill in the blanks I have in efficient job management in the current computer age of marketing so that is why I am here for the next 5 days. The concerts will be cream and sugar for my management coffee. I will attend only a few masterclasses since I have grown up on masterclasses my whole life and really don't NEED anymore at this point. I may not be able to produce as much blog for the next 5 days as I did today but I will trickle down some observations as time and energy permits. Remember that at the end of each day there will be a concert to attend which means I will be getting home some time around 11pm at the earliest each night and will be getting up for some early performances so I can only do so much. It is 4:03 am and I better get my butt in for a little sleep. Gotta register at 10:30 this morning so adios partners!!! Sorry if I missed a few words in this post as my eyes are about to pop out of their sockets about now. Catch you next post!.

Mannes 2013 Guitar Seminar-"BE A PLAYER"

(WWW.MANNESGUITAR.COM)

Tonight is the opening concert for this year's MANNES GUITAR SEMINAR which will be held at the The Americas Society-680  Park Avenue at 7pm. As usual Festival Director Mariano Aguirre, has kept us well informed over the last several months leading up to this week's festivities.
 The central focus of this year's seminar is getting and creating job situations in this modern age of marketing.Artistic Directors Laura Oltman and Michael Newman, have once again assembled a group of great artists for this year's Master Classes,Concerts and workshops all of which are opened to the public.
Tomorrow morning ( Wednesday 10:30 - 12:00 ) is registration and from 1:30 to 4:00 each day is master class time with several outstanding artists instructing students on the details of musical performance.
Sprinkled at various times-usually just before dinner break,are forums on various aspects of making a living with this glorious instrument. Using tools of today's multifaceted computer techniques, our forums will supply us with the tools we need to get and create jobs for ourselves.I have spoken to several young players over the decades who have it all together artistically but fail in the marketing department because they are on their own unless they begin to make associations while in school. Since I am not on the College scene, I have heard that there have been some attempts to rectify that situation and I hope it is true because it is really
incredibly tough out here for young artists in this current society. This year's seminar should go a long way in preparing these kids for the big hustle of real life on the concert platform!

I will be an auditor this year as my health is not really up to my usual jumping around ,but I do hope that readers of this site will be encouraged to attend this great event starting with tonight's concert. Tonight's Concert is the only "Off Site" location during the Seminar.Starting tomorrow, all forums,Master Classes and concerts will be held on site at Mannes College ( 150 West 85th street ) through  Sunday, July 14th. For details on the seminar, go to the Mannes Website:

WWW.MANNESGUITAR.COM.

I can't promise you a detailed daily report but will try to leak some tidbits to you as my strength will allow.

HAPPY BIRTHDAY JULIAN BREAM!!!!!

The magnificent JULIAN BREAM celebrates his 80th birthday this month and I am such a completely devoted fan of this legendary artist! Since my early days on the New York Classical Guitar scenes (1962/3), I have tried to get to every concert he had given in the New York City concert halls.This month's issue of Classical Guitar Magazine has Graham Wade give us a fast overview of the accomplishments of "BREAM the SUPREME" on pages 30-33. When Bream was last here in New York, he gave a two day master class and of course, I was there to catch his pearls of wisdom.
 I miss the magic spell of a Julian Bream Concert. He really produced an incredible variety of Classical Guitar colors each and every performance.Over thirty years ago I was seated in the front Balcony of Town Hall when he played a most incredible concert which featured Giuliani's Rosiniani #1. After his performance he mentioned that there were 5 more composed at which point I shouted from my seat "WE'RE WAITING"! He blushed a little and smiled. I later met him on stage and confessed that I was a fan and it was I from the balcony. I remember how impressed and moved I was by his performance of one of the Lute Suites and told him so. He replied that " It is a LUTE suite"! He mentioned that quip because I stated that he made the Guitar sound like a Lute somehow. Just before ROSE AUGUSTINE passed away, I spent a couple of hours with her at her factory playing and talking Guitar. Rose and I have known each other since the late 60s and she had asked me how I think she should approach Bream to get her 1940 Hauser Back from Bream ( She loaned it to Bream-It is the instrument housed at the Metropolitan Museum, made for Segovia but bought by her husband ALBERT AUGUSTINE). I told her call Bream and ask for it back!

I love the colors Bream would produce from any instrument he performed on! That magical right hand traveled from 12 fret to bridge in search of every possible color nuance to bring depth and breath to each composition. He was famous for the "Mid sound hole stroke and various degrees of Ponticello at the bridge!! His coloring and attack was always searching for just the most ambitious note articulation! Will we ever the this kind of magic again in the Classical Guitar World???

HAPPY BIRTHDAY DEAR JULIAN AND MAY YOU HAVE MANY MORE! CAN I STOP BY AND HAVE LUNCH WITH YOU SOME DAY?

Your Most Devoted Fan,
Don Witter,Jr.

P.S. I was the young African American man at your Manhattan Music School two day Masterclass in New York. I also mentioned to you that Jeffrey Elliott and Cindy passed on their hello.

Note: Bream toured for a year with a magnificent Jeffrey Elliot instrument. Bream and I both met Jeffrey in 1975. More on that in another post!

The Magical World of JORGE CABALLERO - DAMN THAT KID IS GREAT!

Although I have a list of Guitar topics I want to share with you, I must once again speak of the total command of our instrument in the hands of the great PERUVIAN PHENOM- JORGE CABALLERO! Experience this young genius on YOU TUBE with his many videos and you will laugh at how A W E S O M E he is!!! Everyone who has heard him in concert or in Master Class have experienced G E N I U S ! This young man is so brilliant on so many levels and I could write a report on him every day detailing all the wonderful qualities he has but I just wanted to remind you that we have a Genius in our Classical Guitar / Musical Instrument podium! He is a gentle giant as you will find out if you meet him. I have to take a breath every time I think about him because he is as wonderful as Bream,Williams, Barrueco etc! He has already cemented his place on the " best of the best " podium. We are so fortunate to have him as part of our world and you have to make time to get to one of his Herculean Performances as soon as you can!!!! You will be transported into "THE OUTER LIMITS"!

Pia Gazarek-Offermann Delivers Poetry on Guitar-SPANISH GUITAR MASTERPIECES

PIA GAZAREK OFFERMANN is a poetic whiz on her 2009 fabulous KARL-HEINZ ROEMMICH instrument on her just released CD: Spanish Guitar Masterpieces! Three beautiful works from Spanish Composers are played with such verve and beauty opening up the CD with a very little played 2nd Sonata by Eduardo Lopez-Charvarri. The only time I heard this interesting work was in the 70s when it was on the Carnegie Recital Hall debut program of Mexican Virtuoso ALFONSO MORENO! It is a work that requires a sharp mind to interpret the many themes introduced in it's pages and Pia has all the "right stuff" both musically and technically to please us with this performance. It moved me so much that I went to the Lincoln Center Library to see if they had a copy of this Sonata because I remember there being one years ago and as my usual lucky streak continued, I found that copy and sat with it in my lap as I enjoyed my second listening of this CD. My first listening was the evening I first received the CD in the mail. At that time, I listened deeply and wrote a detailed account of each movement in the three works. I do hope that the name of PIA GAZAREK-OFFERMANN catapults to the top of your list of "MUST EXPERIENCE". Fortunately YOU TUBE has several cuts from her 1st CD "SATYAGRAHA" ( 2007 ) which included a stunning performance of the title track ( composed by my buddy BENJAMIN VERDERY) and a lovely performance of Benjamin Britten's  "NOCTURNAL".
  Getting back to this beautifully recorded CD, the other composers represented on this Lovely CD are Frederic Mompou and Antonio Jose. Segovia's recording of The Suite Compostelana by Mompou, still rings in my mind from my old LP ( do you kids know what that is? ). Pia's interpretation is full of sweet nuance and delicate phrasing that throws new light on this very little played work.This work gives the artist six beautifully defined pieces each with another look into the magical world of the Spanish soul. I feasted on each and every movement as Pia's superior use of phrasing and articulation showered the movements with such ingenuity and delicacy. Ending this beautifully packaged CD is that Impressionistic Sonata by Antonio Jose that just flows through it's movements with the thoughtful stamp of thorough artistry by Pia. Three solid works played with superior artistry and several levels of interpretative ingenuity is evident with this beautifully packaged work of art. The sound of the recording is absolutely perfect as it caught the slightest hint of musical utterance by Pia. Let me tell you that her fantastic instrument - a 2009 KARL-HEINZ ROEMMICH - is one of the great instruments being played. I had a chance to try it out in 2010 when Pia was here in New York for two concerts and let me tell you, it is one of those guitars that just "PLAYS ITSELF". I told her "CAN I HAVE THIS"?. I was bowled over when I started to play this magnificent instrument. It has such an easy response to any articulation you could want. With an instrument like this as your vehicle of musical expression, the universe is your sound palette and with an exceptional artist as PIA GAZAREK-OFFERMANN , we are fortunate to have a brilliant ambassador of our music and instrument proudly representing us on the concert stage. Please jump on to YOU TUBE to experience this wonderfully gifted artist and if you are looking for someone special to present in concert, think of Pia. You will not regret a note!

Don Witter,Jr
member NYCCGS / CGSUNY

What I would Love to have Seen and Heard

In the recent Play/demo offered by my young friend RUPERT BOYD at the Metropolitan Museum of a couple of Museum Rare Instruments, I wish he would have been given permission to play SEGOVIA'S Ramirez and Hauser. As inspected the two instruments through the glass case, they looked ready to dance! When we have an opportunity to aurally taste great instruments, we should be given full rein to make music live on any instrument fit to play.Before posting my review of the event, I just want to thank Rupert for playing so magnificently that afternoon. I has the best seat in the house-right in front of Rupert so  I really got an "EAR FULL" of the sound of each instrument. I felt that the RENE LACOTE ( 1853 ) could have used Gut Strings. About 35 years or so ago, I played a period instrument with gut strings and it was a revelation to be taken into the past sound world that day with the scratchy but sweet sound of those strings. I may be wrong but the Lacote didn't seem to have gut strings but I didn't inspect it closely as the curaters were close by and I didn't want any problems.

What I would have Loved to see and heard were all instruments in "PERIOD GARB" with the contemporary
string tension and of course period music! I would have say played the Sor Variations on the Lacote 1st and then the Ramirez,Hauser and finally the Smallman and Sons. By the way, when GREG SMALLMAN first appeared on the scene, I tried it at BEVERLY MAHERS Guitar Salon here in New York and it had the nastiest Nasal sound! Tremendously loud compared to any guitar but the sound was extremely acrid to my ears. Of course there was no shortage of folks lining up to buy one thanks to the great JOHN WILLIAMS. I was so happy that there were modifications made when Smallman had his sons interact with him because they became true "Dream Guitars". I have tried a few Smallman and Sons over the last several years and they are DREAMS!!!

I would love to be able to play the same composition on "Guitars Through the Ages" and also be able to look and compare the construction,touch and playability of each on a video. Check out what is being done by Guitar Salon International on their website as they present various historical instruments for our pleasure. I have tried great instruments over the decades including some of the greatest Luthiers and I never get tired of making each instrument sound the best it can! With today's extreme range of building techniques, we are in a great world of hard decisions when it comes to selecting a concert worthy instrument. Good luck to those of you who are in the search.

This post is just the beginning of several having to do with selecting a guitar for concert use and I hope that I can shed some light on the process. Check the web for pertinent info and keep that GUITAR LOVE alive!

Gotta have dinner or my wife will spank me!

Don