Thomas Viloteau playing Assad

French virtuoso Thomas Viloteau performing an absolutely brilliant rendition of Caboclinhos, the last movement of Sergio Assad‘s Suite Brasileira Nº3. The piece was written for him and is available from D’Oz publications.

Hope that inspires you all for the weekend!

 

Artist Profile: Enno Voorhorst

I first came across Enno Voorhorst‘s name when looking for videos of Agustín Barrios Mangoré’s music. I was pleasantly surprised when I found his video of Las abejas (The Bees). This short gem of a piece is so light, musical, and effortless in Enno’s hands, it almost looks simple.

Hailing form Holland, Enno Voorhorst, is a very active guitarist in Europe and is based in The Netherlands. In addition to his full length recordings of Bach and Ponce, his affinity for the music of Barrios shines brilliantly in his Naxos recording and a more recent recording.

Here is a wonderful video of Enno performing his arrangement of George Frederic Händel’s Chaconne HWV435. Besides some extraordinarily beautiful playing, I find the sound he produces and the voice of the guitar truly luxurious.

Hope that inspires everyone!

Rafael Elizondo’s Technique Videos

Rafael Elizondo is a fabulous Mexican concert guitarist who has been making wonderful videos for his youtube channel. If you don’t speak Spanish, you may not be at too much of a disadvantage because he demonstrates everything very clearly. This instructional video below is a fine example of Rafael explaining how to use fixed fingers to establish stability and confidence in the right hand.

Here is another great one where he demonstrates 4 finger coordination patterns for the left hand:

Check out and subscribe to his channel. There are tons of great posts.

More soon…

 

Technical Workout for Classical Guitar, Level 1 – Base Building, Part 2 (video)

Here is the second of Six String Journal’s series of technique videos to accompany my recent workbook, A Technical Workout for Classical Guitar, Level 1 – Base Building. This video corresponds to Left Hand Movements, Part 2.

This workbook is designed to help late beginners and intermediate guitarists develop a daily routine of movements to strengthen their technical base so that fingers can do their job properly when assimilating new repertoire. Always go slowly with the most control possible. Think of it as writing a program for your brain with no bugs.

Ricardo Gallén on Technique

I just came across some newly posted videos of Spanish guitarist extraordinaire, Ricardo Gallén, performing Leo Brouwer’s Sonata Nº4 Sonata del Pensador. The piece is dedicated to Ricardo and whether or not this is the premier or not, it is a fabulous performance.

Then, as often happens, I find myself watching more videos than I really have time for. There is too much to learn. In the next video, Ricardo gives a masterclass with demonstrations and a tremendous amount of insight. Some of the topics he discusses relate to using percussive practice in the left hand when playing fast, drawing on the metaphor of the difference between walking and running. When we walk, our feet plant fully as we balance to lift and take the next step. When we run, we are pounding lightly a bit more percussively. Translated back to guitar, if the left hand holds down and luxuriates on the fret, energy is lost and tempo slows. Ricardo plays an excerpt of Villa-Lobos Etude Nº2 to demonstrate (around minute 17). The key point is that because the left hand is acting more percussively when playing fast, part of the sound comes from the left hand, so that the right hand can relax, aiding in speed.

Another point he makes (around minute 19) is the unbalanced nature of playing guitar. Instinctually our hands want to act together (thought on this in a recent post about neural coupling), squeeze together, let go together. When playing softly or piano in the left hand but the right hand plays loudly or forte we must practice compensating for the discrepancy in energy between both hands. These are brilliant points to ponder. Undoubtably, there are more insights but I’m dying to go practice…

Artist Spotlight and Interview: Zaira Meneses

Known as Mexico’s “First Lady of the classical guitar”,  Zaira Meneses, has been praised by the New York Times as “an arresting performer full of colorful touches” and has built a stellar reputation for her dark sound, powerful technique, and superb musicality. As a performer, she has graced the greatest stages of the world including New York City’s Carnegie Hall, Alice Tully Hall, Boston’s Jordan Hall, Salzburg’s Wiener Saal, and the Great Hall of the Shanghai Conservatory. As a recording artist, she has released the CD Latina and is releasing three new CDs on the Centaur label. Zaira is also active in the contemporary music scene and has had works dedicated to her by the great American composer, Robert Beaser, and by award-winning composer Stephanie Ann Boyd. Besides her collaborations with prominent musicians, like her husband Eliot Fisk, the flamenco virtuoso Grisha Goryachev, flutist Viviana Guzman, among others, Zaira is active  as educator at the New England Conservatory’s Preparatory Division and as an outreach coordinator for the Boston Guitar Festival.

Here she is performing a beautiful voice and guitar piece followed by a stunning 3rd movement from Leo Brouwer’s Sonata.

When I mentioned featuring Zaira on Six String Journal, we thought it might be nice to add some personal details in a short magazine style interview so here it is:

What’s the most recent news in your guitar activities?  I’ve become a baroque guitar soloist. I’ve also created a new guitar performance art approach with Latin American Collages where I combine guitar, poetry, acting, and singing. Another thing I’ve been enjoying lately is improvising with my requinto and jarana “jarocha” instruments from native Veracruz Son Jarocho music. I’ve also performed in some great venues this year: Carnegie Hall, Jordan Hall in Boston, and at the Mozarteum.

When did you start playing? At age of 7 years old.

What repertoire do you enjoy playing the most? Music that is rich in counterpoint, and that has interesting harmony, rhythms, and phrasing, such as Bach , Santiago de Murcia, Gaspar Sanz, and latin american music especially from Mexico and Cuba.

How much do you practice? It depends, if I have a performance coming up I don’t notice the time. On regular days I practice two to three hours.

Do you structure your practice? Yes. For concerts I prioritize memory reinforcement, sound projection, and how to connect with my audience.

Do you have a system or favorite drills you use to warm up? I start by playing the song I can’t wait to play because it will bring the best out of me. Then I practice the passages that I need to be improve.

Do you have any pre-concert rituals? I always meditate but before a concert I meditate to specific passages of the concert.   I also do mind/rehearse [visualize] the music in the sauna and steam room a week before concert. Sometimes I run with the music I will be performing. I fall asleep reading the music. It really depends what performance I’m presenting but more or less I breath music as much as I can.  

What is the last book that you read? Or the greatest book you’ve read this last year… Oh my gosh! I love the Austrian novelist Stefan Zweig. He’s a great writer and his books are full of imagination and detail. My favorite book is his short stories of “Forgotten Dreams”.

Any advice about practicing to younger players? Practice only if you want to practice. Practicing should come from your gut. Practicing is not a labor, it’s a need. It has to become your need otherwise its not worth doing it.

What guitar or guitars do you perform on? I use a guitar built by Stephan Connor and a Spanish baroque guitar.

Which guitarists have had the most influence on you? Oscar Ghiglia, Eliot Fisk, Joaquin Clerch.

Are there any recordings of guitar music that you think every young guitarist should be familiar with? Alirio Diaz’s Venezuelan Waltzes, Andres Segovia playing Spanish composers, any of Oscar Ghiglia’s Manuel Ponce recordings, Eliot Fisk’s playing Bach, Latin American guitar music, and his recordings of music by Robert Beaser.

Do you exercise? Do you think it helps your playing? YES absolutely! I run outdoors when it’s super cold and when it’s super hot. This helps me adjust my body to any hall circumstances.

What do you eat before a concert? If I can, my daughter Raquel’s best shake for performances:   banana, almond milk, oatmeal, and chia seeds. If I’m in a hotel, I eat turkey or white meat and avocados. If I’m in hotels I also like to order Chinese steam ed vegetarian dumplings.

Artist Spotlight – Mabel Millán

I recently stumbled upon this great artist’s videos on youtube while looking for a worthwhile performance of Joaquín Rodrigo’s Fandango from his Tres piezas españolas. With over 30 awards and 19 (!) 1st prizes from both solo competitions and chamber music competitions, Spanish guitarist Mabel Millán is often in the spotlight as one of the emerging young concert guitarists of her generation. What is so impressive is that she is in her early twenties and is also getting a law degree while she pursues an active concert career. Her playing is so fluid and lyrical that it is easy to overlook the fact that she is playing some of the most demanding guitar repertoire effortlessly. Here she is performing Joaquín Rodrigo’s Fandango and Zapateado, Johann Sebastian Bach’s Chaconne, and William Walton’s 3rd Bagatelle. It’s hard to imagine it could be performed better.

Mabel’s latest news is that she will be performing Manuel Ponce’s Concierto del Sur in Madrid’s Teatro Monumental and will be the first woman to record the concerto. Also, her first CD will be released on the Mexican label AdlibMusic MX with a rendition of Leo Brouwer’s Sonata of the Black Decameron. Below is a take of her recording Antonio Ruiz-Pipó’s Canción y Danza Nº1.

Hope that inspires everyone!