The first full day at GFA got off to a busy start with a technique by workshop flamenco classical hybrid Marija Temo and a lecture by Michael Quantz. The Lecture focused on Quantz’s experience of using digital tools in private lessons for university students.
After our hands and minds were warm and ready to go, there were two successive morning performances. The audience was treated to Rene Izquierdo followed by The Pasieczny/Stanikowski Duo Project. The juxtaposition of these two allowed one to enjoy their performances.
Rene Izquierdo exhibited mastery in his performance. The control of the Scarlatti and Bach was a real treat for the audience. The virtuosity brought fluidity to the pieces. This was really appreciated during the Cuban song, Quajira a mi Madre by Nico Rojas. It was great to hear Izquierdo perform this piece in contrast to other greats like Joaquin Clerch and Marco Tamayo. A highlight that must be noted was an encore, Izquierdo’s arrangement of Claude Debussy’s Arabesque Number 1. One would hope that the next time you hear Rene Izquierdo play, he plays this encore. This was one of the day’s highlights.
The Pasieczny/Stanikowski Duo Project provided a program of contemporary music arrranged and composed by Marek Pasieczny. One may be familiar with his work omage to Alexandre Tansman for solo guitar or his arrangement of Arvo Part’s Variations for the Healing of Arinushka for two guitars. Hearing these compositions was not only refreshing, but also illuminating to Pasieczny’s compositional style. The Sakura No Hana Variations, based on a Japanese coto melody, modeled tasteful compositional use of extended techniques. The duo displayed impressive synchronicity and range of moods introducing these compositions to the audience.
Maestro Oscar Ghilglia taught in a masterclass and proceeded to cast pearls of wisdom to all who were willing recipients. The first performer, Giulia Ballare, played Toru Takemitsu’s Equinox. She adapted to his instructions without hesitation or pause. Ghilglia stressed the importance of sulfege and respecting the integrity of the piece. Each correction was accompanied by a quirky yet insightful anecdote.
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The audience could not help but be captivated and delighted by TrioConBrio’s performance. One could hear that they have were a seasoned ensemble. The trio played composers Leo Brouwer, David Bobcock, Sergio Assad, and Ray Sandoval who composed and dedicated the work played. The character of the trio could be described covering the spectrum of playful, bold, and evocative.
William Kannengiser treated the audience to a tour of musical variance that he performed so well, that one may believe that these pieces reflect different elements of his quirky personality. Style, rhythm, and cultural variance were the programs highlights. He played works by Joaquin Turina, Fernando Sor, Dusan Bogdanovic, Oliver Hunt, Ian Krouse, Bryan Johanson, and Brian Head. The first half was virtuosic standard guitar repertoire and the second half was contemporary music chiefly based off of folk elements. In the fist half of the program, Kannengiser played with playful nature that permeated throughout Fantasie Elegiaque which was a great contrast from the bravado of Sevillana. Second half highlights include the beautiful Magic Serenade by Johanson, Three African Sketches by Bogdanovic, and Brookland Boogie by Brian Head. What was also notable was Kannengiser’s acknowledgements. He is a great story teller and not only gave special insights into the music, but made sure to thank GFA organizers, volunteers, and gave Brian Head an extra special shout out for all his work. As an encore, he played a beautiful Paraguayan melody capping off his outstanding and diverse program.
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