Below are the 20 most recent journal entries recorded in briangardiner's LiveJournal:

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Wednesday, March 19th, 2008
10:57 pm	Another St. Patrick's Day Wasted Well I did it again, I beavered away at Giulio Regondi's "Kathleen Mavourneen Fantasy', without getting it recorded. I have been trying to get this done about three years, and every year I come up short. What usually happens is, I put away and say, "next year I'll get this thing." This year, however, I am close. I can play it through quite well, but there are a couple of stretches that slow me down, and keeping the melody flowing is tricky. So this year a new rule. I am going to keep on this piece until I can get a recording. Kathleen Mavourneen Fantasy is a piece from Mo's more private collection, that he posted on his web site one year as a St. Paddy's day present to all us Irish players, of which I am apparently the only one. It's a nice piece, based on a mid 1800's tune called, strangley enough, Kathleen Mavourneen. Regondi did a short fantasy based on the melody. Ever since I have been wanting to post it on St. Patrick's Day as a little fun o' the day. Unfortunately, mastering the piece has been just beyond me. But, as I said, this year I record it regardless of when then I will either just post it, or put it aside until next year, when I will surprise you all with it. When I do record this, by the way, I believe it will be a world premier, which is kind of cool. That means I'll get to set the tempo and my odd little musical idioms will become the way it should be played. Perhaps Mo could verify if that would be so? (14 Comments |Comment on this)
Monday, March 10th, 2008
12:04 pm	Classical Guitar Magazine After a couple of years absence, I discovered Classical Guitar Magazine on the shelves of a local bookstore this weekend. It used to be available in most bookstores, but about six months after I discovered this, it disappeared. I have meant for years to subscribe, but have never got around to it. Now, finally, it is back. Hopefully it is a permanent change. (Comment on this)
Friday, October 19th, 2007
1:13 pm	Tema de Strauss A quick recording, from the Upstate New York festival, of me playing the Tarrega Waltz, Tema de Strauss, based on Johann Strauss' Kuss Waltz (Kiss Waltz). http://www.briangardiner.ca/samples/strauss.mp3 (1 Comment |Comment on this)
Wednesday, October 3rd, 2007
9:10 pm	Mark Delpriora OK, this time I will be brief. Mark Delpriora was performing "Music from the Segovia Archive" This is, in fact, music from my LJ friend Angelo Gilardino's efforts as I had surmised earlier. Mark is another really solid player, technically spot on, but still plays with real feeling. This is a tough repertoire to play, and he handled it very well. Here is the program: Sardana Chigiana       Cancion De Leonardo Catalanesca by Gaspar Cassado Prelude by Aloys Fornerod Spiritual by Pierre-Octave Ferroud Sonatina by Cyril Scott     Adagio quasi introdzione; Molto moderato     Allegretto pensoso     Finale: Allegro Quatre Pieces op. 32 by Henri Martelli     Gaiment     Vite     Lent     Anime Intermission Sonata-Fantasia by Frederico Moreno-Torroba     Lento; Allegretto     Allegretto     Allegro Piezas Liricas by Vincente Arregui     Cancion Lejana     Intermedio     Confidencia     Campesina For an encore he pulled out a really nice baroque guitar and played a short dance, apologies that I can't give you any more details, other than to say it was a nice change of pace. Mark Delpriora is another nice guy, and  I was pleased to discover he knew who I was by name, just from some communication we have had through the years through various newsgroups and such.  In talking to him, he mentioned that he needs to play repertoire like the above to get performances, that he has a harder time getting bookings doing his own stuff. That's too bad, as what I have fooled around on that he has composed (and I fool around with his stuff, it's tough) is really good. I have very little comment on the music itself, only because I'm not sure which pieces are which. There's a lot of music that goes on in a day like Saturday, and my mind takes much of it in, without filtering it into nice little compartments. I can tell you a liked some of the Segovia stuff, I really liked some of it, and one or two pieces were not to my taste. I just can't tell you which was which. Although, I did enjoy the whole second half, and the Quatre pieces. That's it for now.  I'm hanging  out the gone fishin' sign for a couple of days, as I am taking my son up to Georgian Bay to see if the salmon are running yet.  And now, to bed. (4 Comments |Comment on this)
8:51 pm	Brief Summary of Upstate New York I have a lot to say about this, but I'll keep it brief tonight, as I distinctly hear my bed calling out to me, and I still have two or three things to do. So quick summary's. I arrived in the morning and Mir Ali was on the stage blowing through some flamenco riffs. As I was slated to perform second, I was a touch worried, thinking, please let that guy not be playing first. Man he can play. Lots of sound, and clean. Real nice, unless you are following him. I wasn't. When the programs came out, I was standing next to the guy who was playing first, and he said, "Oh, somebody's playing the English Suite". "Oh, that's me," Said I. "Nice. I saw Segovia play that in the late 60's..." Oh good, I thought. At least somebody in the audience would be comparing my performance to Segovia. Anyway, my performance went off without too much trouble, and although I was playing sloppy, I think it was pretty musical. Here's my program: Two Waltzes: Tema De Strauss                          Las Dos Hermanitas by Francisco Terraga English Suite: Prelude                 Folk Song                 Dance by John Duarte I will tell you that the applause after the waltzes was strong and enthusiastic. After performing, I went outside to breath and Mir Ali was returning from his car with some gadget. He told me he heard the first two pieces and really enjoyed them. Nicely played, is the phrase I think he used.  The English Suite went well enough, but a few too many flubbed notes for my comfort. I was worried that the fingers would be less mobile at 9:40 AM, and they were a bit. I also think I got a bit too much tempo going to start, something I was concentrating on not doing. Overall, it went well, however. Please see the comments from my last post re: Mir Ali. He was a really, really nice guy, and a great player.  I was very impressed, and pleased to have heard from him since Saturday (in fact, by the time I arrived home Monday, his office had e-mailed me). Here is what he performed at his afternoon concert. Rag Kirvani by Mir Ali (2004)     Alap     Jhala in deepcchanndi (14 beat cycle)     Gat in Keherva (8 beat cycle) Alhambra by Mir Ali (2002) Variations on the Russian Melody Ecargnizama (traditional: arranged by Mir Ali 2006) Rumba Gitana by Mono Sanlucar/ Ali B Buleria by Mir Ali (2006) Another post will follow for Mark Delpriora (Comment on this)
Friday, September 28th, 2007
7:24 pm	Classical Guitar Society of Upstate New York Fall Festival I am in Oneonta New York for the above mentioned CGSUNY Fall Festival tomorrow.  I have been here three hours, and already I ran into DON WITTER walking the STREETS.   Tomorrow starts with us amateurs giving mini performances. I have slot two at 9:45, an dwill be playing two Waltzes by Fransisco Tarrega and The English Suite (Duarte). After that I get to listen to a pile of other members, then a composers clinic at 4:00 with Mir Ali, whomever that is. The evening features Mark Delprioria playing pieces from teh Segovia archive. I'm guessing this is some of the stuff Angelo edited, but I don't know fro sure. I will try and post in tomorrow night with the days events, although it may have to wait until Monday night.   (6 Comments |Comment on this)
Friday, August 31st, 2007
9:43 pm	BMV 999 Thanks to Angelo and Carlos for answering my question about the B/Bb in Bach's BMV 999 Prelude.  I was listening to a Segovia CD, "1927-1939 Recordings: Volume 1" and this piece was on it. IT is listed as Prelude in C Minor for Lute, BMV 999, and I thought, hey I think I have that.  Quite a nice little piece, and playable (so far). My book on the Lute Suites has all four suites, plus these two stragglers at the back. Prelude 999, and a Fugue, BMV 1000.  I have often wondered about those two stragglers, but know nothing of them. Is there any reason why there's two odd pieces thrown in with the lute suites? Any story behind the pieces, particularly, of course 999? (2 Comments |Comment on this)
Thursday, August 30th, 2007
4:18 pm	Bbach I'm toodling around with Bach's BMV 999 - Prelude, and have come across a text error on my score. Problem is, I'm not sure what the error is. The bar in question is bar 20, shown below. The key is F. As you can see the fourth note is Bb. However, the score (Jerry Willard's Bach Lute Suites for Guitar) calls for a half bar at the 7th fret, making the fourth note a B. So which do you all think it is, a B, with a missing natural, or a Bb, with the call for ½CVII being the mistake. Personally, it males more sense that someone missed a natural, instead of accidentally put in a call for a bar, but I don't know for sure. Anyone have a different score, and if so, what does it call for? Or does anybody play the piece and, again, what do you play there? (5 Comments |Comment on this)
Saturday, August 18th, 2007
3:04 pm	Back from NY I love New York, and had a great four days there. Stopped in at Luthier Music, where I spent $100 in about ten minutes, most notably on one of these: http://www.bf-music.com/photo/gr-2b-photo.html It's the Murano Guitar Support, which is one thing I was looking for. I have tried damn near everything to support the guitar, and am unhappy in one way or another with each one. The best, IMO was the Gitano, which was comfortable and positioned the guitar perfectly. Sadly, the suction cups would hold about 2 minutes, and I was not able to solve this problem, at least constantly enough that I could be comfortable using the support.  And yes, I tried the Kling On Sheets. So for now, it is the Murano, which I am happy with so far. I am sitting down this week to do some chops building.  I have the pieces prepared for upstate New York, but they are sloppy. I am finding I need a little technical work, so this week it is stretches, scales and arpeggios. Also, while in New York, I picked up Glenn Kurtz's book Practising, which so far, is a very enjoyable read.  I will probably give a full review upon completion in a few days or a week. (10 Comments |Comment on this)
Sunday, August 12th, 2007
10:51 pm	Wedding Last Night I played, briefly, at a family wedding last night. I was asked on shortish notice if I would cover a little music during the signing of the registry. No big deal, but it was so quiet, I knew every sole in the place was picking up every note. Very different to play in that environment. For the record, I prepared about 10 minutes to play, but didn't need it. I played the traditional Romance, plus Tarrega's Adelita. I otherwise had the Prelude for Duarte's English Suite, Paco Talarn's Canco trista, Tarrega's Tema de Strauss and Lagrima, plus an arrangement of O Mio Babbino Caro ready to play if needed. I very intentionally chose nice short pieces, so that when the registry was signed, people weren't sitting waiting for me, toes tapping impatiently, to get through some five minute piece. It was a nice wedding, and I enjoyed my small part in it. If nothing else, it gave people something to talk to me about afterwards, which meant the mingling at the party went smooth. Next up, the Upstate New York Classical Guitar Society Fall Festival at the end of September, during which I will play a small set for the festival. This is no big deal, as anyone can request to play during the day slot. The alloted time is 15 -20 minutes. I'll be plating Duarte's English Suite, plus Two Waltzes by Tarrega: the above mentioned Tema de Strauss, and Las Dos Hermanitas. The main performer is Mark Delpriora, who I am looking forward to hearing. I'm hoping he'll play Caffe Carcioeo, as it presently stares at me from my music stand, incomprehensible to me. First though, a week away from the guitar. Heading out tomorrow for a week long visit to New York, where I will go to Luthier Music and of course CD shop at Times Square, but otherwise will pretty much ignore my hobby. However, I will have web access (hopefully), so if anybody knows of a must visit place in New York, especially, but not necessarily guitar related, let me know. And if anybody who reads this is in New York, again let me know. Maybe a meeting can be arranged. Oh, almost forgot: You scored as Haydn, You will go far by staying close by, instead of using your energy to climb the ladder of success. You are content to live in a small but dignified world, and you thrive in it. Haydn 60% Wagner 55% Beethoven 50% Hector Berlioz 50% Chopin 45% Brahms 45% Schumann 40% Schubert 40% J.S. Bach 40% Liszt 35% Handel 30% Tchaikovsky 30% Mozart 25% Which classical composer are you? created with QuizFarm.com It would have been so much more fun to be Mozart, and I'm not real nuts that Wagner is my number two, but thanks anyway Guarani. (Comment on this)
Saturday, July 28th, 2007
8:50 am	Benjamin Verdery I spent my birthday this year (Tuesday) up in beautiful Parry Sound catching a couple of concerts (as alluded to previously): Benjamin Verdery in the morning and a Guitar Gala in the evening. For this post, I will cover the morning show. I was unfamiliar with Benjamin Verdery's work going into this concert, but came away a fan. First the program: Eleven Etudes            Benjamin Verdery     Start Now     Let Go     Now You See It, Now You Don't, Now You Do     Home is Here Air Lou                     Lou Harrison Partita II in D Minor BMV 1004     Ciaccona Nocturnal after John Dowland, Op. 70      Benjamin Britten     Musingly     Very Agitated     Restless     Uneasy     March-Like     Dreaminng     Gently Rocking     Passacaglia     Slow and Quiet The Blue Danube         J. Strauss/ B. Verdery Encore was a short original. Cut from the program was the original Benjamin Verdery piece Tears For Peace. Verdery performed the first three pieces without uttering a word, just came out and played. The Lou Harrison piece and the Ciaccona he joined together, causing some confusion  as to what he had played. He also struggled with the tuning by the end of the Ciaccona, with the 2nd or 3rd string going badly out of tune during the co-joined pieces. However, after the Ciaccona he really came to life.  He ran off-stage to get the poem from the Nocturnal, and talked quit a bit about the piece, then played it very well. He is, the stuff about talking or not talking aside, a very good player. His playing is clean and without major errors, and I left the concert quit excited from it. It was a very good show, the tuning problem during the one piece being the only problem during the show. After I briefly chatted with Mr. Verdery, who was, as I find all these guys to be, very nice and entirely decent.  I also picked up a CD, which has the Ciaconna, the Strauss and others, including three Jimi Hendrix pieces, which is proving to be a fast favourite with me. Overall, an excellent show, and the less than capacity audience went away quite satisfied. (7 Comments |Comment on this)
Sunday, June 3rd, 2007
4:00 pm	Guitar in Parry Sound Ontario Parry Sound is in the Northern part of our province, about 2 hours north of Toronto on the shore of Georgian Bay. Anyone who lives here, knows Parry Sound. It's a small town that turns into a big one on the summer: there are lots of lakes nearby and cottages galore. It's a gorgeous part of the world, and my favourite hideaway: my mother-in-law lives there. Every year I find a week to trade places with her, and I go up, walk in the woods, play guitar for hours and watch a big pile of movies. Every summer, there is a festival of sound, which features a variety of classical music events over a 3 or 4 week period. This year they have added a guitar component for the first time.  On July 22nd to 24th, Benjamin Verdery and the Canadian Guitar Quartet will play a series of shows, and Verdery will give a master class (there's also a lunch time show on the 25th with a string quartet, flutist and Verdery). I will be going to a couple of the 24th shows (Music for a Summer Morning and Guitar Gala), with tickets already in hand. It is also my birthday, so a little celebrating might happen too. Anyone who will be anywhere near the area might want to check this out. Parry Sound is a great little vacation spot, and they have a fabulous concert hall (mere hours from Manitoulin Island I would add). And if you happen to think you may be going, let me know. I suspect I'll be thinking a few drinks after the evening show. (1 Comment |Comment on this)
Monday, May 14th, 2007
11:44 pm	Là ci darem la mano Give me thy hand, oh fairest, Whisper a gentle 'Yes', Come, if for me thou carest, With joy my life to bless. Received the Jan Nepomucen de Bobrowicz "Grandes Variations on a Duo fro Don Giovanni of Mozart" today, and almost immediately spent half an hour playing the theme. Là ci darem la mano is one of my favourite pieces from opera, so I was pleased to see that this is what the piece was (I didn't actually know when ordering). I would, and yet I would not, I dare not give assent, Alas! I know I should not... Too late, I may repent. As Mo suggested, it starts reasonably easily, with the theme being fairly straight forward. I haven't begun any variations yet, so I will wait and see about the guaranteed ovation. I still don't think the cats are up to an ovation, even if I was up to performing the final variation. We'll see on both counts, however. With thee, with thee, my treasure, This life is nought but pleasure, My heart is fondly thine. I should point out as well, doing a quick search before writing this, I found this CD, which includes this piece on it. Another addition to my list. Exeunt, arm in arm. (Comment on this)
Sunday, March 25th, 2007
10:42 am	Simply Devine Wonder how many reviewers run with that pun? Graham Anthony Devine made his first Toronto performance last night a the Toronto Guitar Symposium. He was, simply put, magnificent. His appearance came as a bit of a surprise, as I must confess to expecting a David Niven type, rather than a Nick Hornby sort of fellow. But Hornby we got. A largish fellow, in the built like a brick house sense, neither tall nor fat, he had a surprisingly delicate touch on the instrument. I am familiar with Devine through his Naxos "British Guitar Music CD," which features Walton's "Five Bagatelles" and Lennox Berkely's "Quatre Pieces pour la Guitarre" The CD is really of poor quality, not in performance but in fidelity, a problem I find consistent in Naxos CDs. But it made Devine's beautiful tone all the more surprising. This was an excellent performance, with a program I really enjoyed: Domeinico Scarlatti - Four Sonatas Maurice Ohana - Tiento Manuel Ponce - Variations and Fugue on LA Folia de Espagna Interval Enrique Granados - Valse Poeticos Leo Brouwer - La Ciudad de las Columnas Sergio Assad - Fantasia Carioca Encore Erik Satie - Gnossienne No. 1 The four sonatas were a great start: light and lively yet not simple or commonplace. And well played. The evenings highlight had to be the Ponce Variations and Fuque, played wonderfully, and fully. After it was done he got called out for an encore bow before the audience would take their intermission. I have never seen that before, although it may not be too uncommon. Before introducing the Assad, Devine explained it was originally written for Duo and orchestra, later reduced to duo, then to solo guitar. Which, he explained "if you know Sergio Assad, means there's a lot of notes." Whoo boy, was there ever, yet not needlessly so. What a wonderful piece, as was the Brouwer tribute to Havana. For me the highlights of the night were the Granados, and the encore. Lately, as I explained to Ken 'Sorfingers' at Sylvie Proulx, I have been into waltzes. So the Valses Poeticos struck a real chord with me, and was so nicely played. The encore was a perfect desert, syrupy, but so good. The Satie is a wonderful little melody, played over pretty chord voicings. The arrangement sounds like it was close to the Williams, and as well played. I had a cheesecake at Carole's Cheesecake Cafe (recommended) before, and this reminded me of the cheesecake, sweet but substantive. Finally, it was good to see Ken again: we have to keep meeting like this Ken. A wonderful evening of guitar, and I got to miss a family function in the bargain, what more could a guy ask for? (1 Comment |Comment on this)
Monday, February 26th, 2007
10:26 pm	Sylvie Proulx As noted by Ken Sorfingers previously, I was at Sylvie Proulx in Toronto back on the 17th. Ken did a nice job of  reviewing the evening, so I won't go on at length about the show. I'll let it be said I liked the Kioshkin and the Dyens best, and it is the first time I have heard the often commented on Koyunbaba.  Not a piece that I minded, but I don't think I'll commit the next three years to learning it. More interesting about the night was it was my wifes first CG recital. How did she fare? She thought it OK, but will probably skip the next one. I think the programme was a bit heavy, a bit modern for somebody with little experience in CG (other than my occasional plinking which rises from the basement). Her favourite of the night was the aforementioned Koyunbaba.  In the future I will try and be more careful of programming, and drag her out only to the performances that may be more Segovian (for lack of a better term). Of note, I have still been unable to satisfactorily explain to her the joke behind the name Sorfingers. Next up, Graham Anthony Devine, on March 24th. (1 Comment |Comment on this)
Sunday, January 7th, 2007
7:17 pm	Notation Question Playing Fransisco Tarrega's 4 waltzes, as downloaded from Eythor Thorlaksson, and have found an interesting notation. Here it is: The question is at the harmonic section, the last three bars shown. It appears to me that the notation offers which string to play the harmonic on, then the number would be the fret. For instance the first would be played first string, 12 th fret, then 2nd string 7th fret, and so on. What do you think, am I reading this correctly? Was this a standard way of doing things in Tarrega's day, or is it some strange Icelandic notation that Eythor Thorlaksson has come up with? Thanks for any help, bu the way, the file in question is here: http://www.eythorsson.com/music/1055.pdf It is the second piece Las dos Hermanitas, third line of the first page. Thanks again. (5 Comments |Comment on this)
Friday, January 5th, 2007
8:53 pm	Barrios Competition Thanks to Cristiano who has been posting to some of the guitar lists with the winners of the 2006 Barrios Competition: Barrios Competition 2006 - Final Results Final Results of 3rd Edition (2006) of 'Agustin Barrios International Guitar Competition' 1st place Dimitri Illarionov 2nd place Goran Krivokapic 3rd place Pavel Klyushin More information on www.barrioscompetit ion.com Thank you for your attention. ------------------------ Cristiano Porqueddu Artistic Director Barrios Competition 2006 As I replied, if I'd have known the competition was going to be this light, I would have entered. Seriously, one and two are a couple of very good players. I saw both at the 2004 GFA in Montreal, Dimitri as a featured performer, Goran as the winning competitor, and both were dynamite.  If Goran is now nipping at Dimitri's heels, however, then he has improved markedly. Congratulations to all three, but especially to Dimitri Illarionov, who sometimes reads here. On a similar note, I picked up Goran Krivokapic and Jermoe Decharme's GFA CDs (from Naxos) in December. The Ducharme one came from a recommendation by MO, and while i was ordering I got Goran's. Both are excellent. I suspect (hope) we haven't heard the last of either Dimitri Illarionov, Goran Krivokapic or Jermoe Decharme. (4 Comments |Comment on this)
Monday, January 1st, 2007
5:59 pm	Chhering for the Alhambra I ran across this today, vote for the new seven wonders of the world. I mention it because one of the wonders you can vote for is the Alhambra: Mohammed I, the first king of the Nasriden – a Moorish dynasty in Granada - converted a 9th-century castle into his private royal residence, and it is this which we now know as the Alhambra. The structure, which covers an area of 13 hectares, is renowned for its stunning frescoes and interior detail. The building is one of the finest examples of Moorish architecture in the world and is among Europe’s most-visited tourist attractions. In short - vote for the Alhambra, because it now represents - Dignity & Dialog! The Alhambra is, of course one of those sacred places to us classical guitarists, due entirely to Tarrega's Recuerdos de la Alhambra. regardless how you feel about it as a piece of music, you can't deny it's place in the psyche of classical guitarists. So I voted, picled seven, but number one was the Alhambra, just because. (Comment on this)
Wednesday, November 22nd, 2006
11:43 pm	The Music Stand Received in the mail (one only) Guiliani's "Dances of 1810" edited by Brian Jeffery. I have spent a portion of the last two days playing through the waltzes, and I must say I have been enjoying myself. I am now taking a more serious look at the 12 waltzes, figuring one a day will be reasonable. They are fairly simple pieces, but lively and musical. And as Jeffery notes in the preface, you just can't play them too fast! Also have the Molino "Vive Henri IV", which has been played on and off for a week or more. I have the intro, and the first variation fairly solid. Variation II will come next, probably starting tomorrow, if I can put down the waltzes. (2 Comments |Comment on this)
Sunday, November 19th, 2006
7:51 pm	Testing Testing Mozilla Blogger. This is only a test. If this was a real post, you would be instructed what to think. powered by performancing firefox (Comment on this)