I often stumble upon Greek guitarist Evangelos Assimakopoulos’ videos when swallowed into the youtube rabbit hole. These are the videos I listen to more than once. I linger. Evangelos’ playing is lyrical, colorful, understated but virtuosic, and though I want to label the playing with the term “old school”, his playing is simply how I imagine guitar should be played.
Here is a video of Evagelos playing Enrique Granados’ Danza Española Nº5.
And, another one of him playing Domenico Scarlatti’s Sonata K.474.
Here is more information on his duo and a link to his youtube channel:
This beautifully shot video of Italian virtuoso, Alberto Mesirca, comes via the Paris Guitar Foundation. Mesirca interprets one of Domenico Scarlatti’s more difficult harpsichord sonatas (K.239) in an almost effortless way in a magical setting.
Based in the San Francisco Bay Area, Russian born and Israeli raised classical guitarist, Yuri Liberzon, is certainly carving out a name for himself in the rising generation of gifted classical guitarists. Watching Yuri play elicits incredulity at his extreme level of control. And once you get past the impressiveness of it all, you realize that what holds your attention is both the beauty, subtlety, and intensity of his musical interpretations.
A graduate of the most elite conservatories in the world, Yuri’s time with acclaimed guitarist, Manuel Barrueco, is most noticeable in his playing and in his repertoire. In a recent concert, he played through Scarlatti, Bach, Piazzolla, and Brouwer with an abundance of elegance and refinement. Active as a soloist, chamber musician, and recording artist, he also spends time teaching and publishing very detailed editions of his repertoire.
Stay tuned for one of Yuri’s favorite warm-up exercises and an interview!
When I was just starting to broaden my ears to the brilliance of Domenico Scarlatti’s Sonatas, I heard one of my early teachers, Robert Squires, play through Scarlatti’s Sonata in A Minor, K.54 (L.241). He played all of the trills cross-stringed and his reasoning was that a harpsichord would also perform the ornaments cross-stringed. Whatever the reason, it sounded so wonderful to hear the crispness and clarity of the trills played this way. Since then, I have worked on a lot of sonatas and have found that regularly practicing the following right hand formulas really help to develop and maintain this skill. There is a lot of beauty in playing trills with slurs but in a lot of baroque keyboard music, performing trills and ornaments across strings is worth the work.