A Tribute to Andrés Segovia

A Tribute to Andrés Segovia

A Tribute to Andrés Segovia
March 2, 3 & 4 2017



Fort Worth: Thu Mar 2, 2017 7:30pm
Kimbell Art Museum –
Renzo Piano Pavillion Auditorium

3333 Camp Bowie Blvd, Fort Worth, TX 76107   
click for tickets
Dallas: Fri Mar 3, 2017 7:30pm
Montgomery Arts Theater
Booker T. Washington High School
2501 Flora St, Dallas, TX 75201 
click for tickets

Virginia Luque – Tribute to Andrés Segovia

Virginia Luque

Virginia Luque – Tribute to Andrés Segovia  March 2 & 3, 2017

Fort Worth: Thu Mar 2, 2017 7:30pm
Kimbell Art Museum –
Renzo Piano Pavillion Auditorium

3333 Camp Bowie Blvd, Fort Worth, TX 76107   
click for tickets
Dallas: Fri Mar 3, 2017 7:30pm
Montgomery Arts Theater
Booker T. Washington High School
2501 Flora St, Dallas, TX 75201
click for tickets

Virginia Luque plays classical and flamenco music in a Spanish romantic style, combining extraordinary technical virtuosity with beautiful tone and musicianship.

Ms. Luque has recently recorded Rodrigo’s Concierto de Aranjuez with the London Symphony Orchestra at Abbey Road Studios. She has been awarded First Prize at several international competitions, including the “Manuel de Falla” Competition for Classical Guitar in Granada, Spain, and has received the Lincoln Center Scholarship among other awards.

Concerto performances have included the Concierto de Aranjuez with the New York Virtuosi Orchestra, the Hartford Symphony Orchestra, the North Arkansas Symphony Orchestra, Riverside Symphony, the Seoul Symphony Orchestra, the Izmir Symphony Orchestra, Antalya Symphony Orchestra and she has premiered her own concerto with the Alexandria Symphony.

Recitals have included Carnegie Hall, Town Hall, The Metropolitan Opera House, The Frick Collection in New York City, and numerous concert halls throughout the United States. She was also invited by Christopher Parkening to do a special guest recital at the Christopher Parkening International Master Class at Montana State University.

A native of Algeciras (Cadiz), Spain, Ms. Luque began playing the guitar when she was four, started formal training when she was six, and gave her first concert at the age of seven. After hearing her play, Ms. Luque was invited by the legendary Spanish guitarist Andres Segovia to study privately with him.

She received her Master’s degree in Spain and at Segovia’s suggestion came to America where she also received a Master’s degree from the Juilliard School in New York City.

Ms. Luque’s other pursuits have garnered her a First Prize in the International Competition of Poetry based in Puerto Rico and she has also graduated as “Chef” from the French Culinary Institute of New York.


Gigue (In the Style of Weiss)
Manuel María Ponce Cuéllar (1882-1948)

Spanish Dance # 5
Enrique Granados Campiña (1867-1916)

Choro 1
Heitor Villa-Lobos (1887-1959)

Waltz Op. 64 # 2
Frédéric François Chopin (1810-1849)

Verano Porteño
Astor Pantaleón Piazzolla (1921-1992)

Taquito militar
Mariano Mores (1918-2016)
(arrangement, Jorge Morel)


Rumores de la Caleta
Isaac Manuel Francisco Albéniz y Pascual (1860-1909) 


Sangre gitana
Virginia Luque (Timeless) 

Nostalgias de mi tierra
Virginia Luque 

Buleria “La romería”
Virginia Luque

Gran Jota
Francisco de Asís Tárrega y Eixea (1852-1909)   

(Presenter’s note: We used the full names of composers in the program tonight for general interest.) 


The Assad Brothers

The Assad Brothers February 16, 17 & 18 2017

The Assad Brothers

Fort Worth:
Thu Feb 16, 2017 7:30pm
Kimbell Art Museum –
Renzo Piano Pavillion Auditorium

click for tickets

Dallas: Fri Feb 17, 2017 7:30pm
Montgomery Arts Theater
Booker T. Washington High School
click for tickets



Their exceptional artistry and uncanny ensemble playing come from both a family rich in Brazilian musical tradition and from studies with the guitar/lutenist Monina Távora (1921-2011), a disciple of Andrés Segovia. In addition to setting new performance standards, the Assads have played a major role in creating and introducing new music for two guitars. Their virtuosity has inspired a wide range of composers to write for them including Astor Piazzolla, Terry Riley, Radamés Gnattali, Marlos Nobre, Nikita Koshkin, Roland Dyens, Jorge Morel, Edino Krieger and Francisco Mignone.Brazilian-born brothers Sérgio and Odair Assad have set the benchmark for all other guitarists by creating a new standard of guitar innovation, ingenuity and expression.

Now Sérgio Assad is adding to their repertoire by composing music for the duo and for various musical partners both with Symphony Orchestra and in recitals. They have worked extensively with such renowned artists as Yo-Yo Ma, Nadja Salerno-Sonnenberg, Fernando Suarez Paz, Paquito D’Rivera, Gidon Kremer and Dawn Upshaw.

The Assads began playing the guitar together at an early age and went on to study for seven years with Dona Monina. Their international career began with a major prize at the 1979 Young Artists Competition in Bratislava. Odair is based in Brussels where he teaches at Ecole Supérieure des Arts. Sérgio resides in San Francisco, where he is on the faculty of the SF Conservatory.

The Assad’s repertoire includes original music composed by Sérgio Assad and his re-workings of folk and jazz music as well as Latin music of almost every style. Their standard classical repertoire includes transcriptions of the great Baroque keyboard literature of Bach, Rameau and Scarlatti and adaptations of works by such diverse figures as Gershwin, Ginastera and Debussy. Their touring programs are always a compelling blend of styles, periods and cultures.

The Assads are also recognized as prolific recording artists, primarily for the Nonesuch and GHA labels. In 2001, Nonesuch Records released “Sérgio and Odair Assad Play Piazzolla,” which later won a Latin Grammy. Their seventh Nonesuch recording, released in the fall 2007, is called “Jardim Abandonado” after a piece by Antonio Carlos Jobim.  It was nominated for Best Classical Album and Sérgio went on to win the Latin Grammy for his composition, “Tahhiyya Li Oussilina.”

A Nonesuch collaboration with Nadja Salerno-Sonnenberg in 2000 featured a collection of pieces based on traditional and Gypsy folk tunes from around the world. In 2003, Sérgio Assad wrote a triple concerto for this trio that has been performed with the orchestras of São Paulo, Seattle and the Saint Paul Chamber Orchestra.  In the summer of 2004, Sérgio & Odair arranged a very special tour featuring three generations of the Assad Family. The family presented a wide variety of Brazilian music featuring their father, Jorge Assad [1924-2011] on the mandolin and the voice of mother, Angelina Assad. GHA Records has released a live recording and a DVD of the Assad Family live at Brussels’ Palais des Beaux-Arts.  In the 2006-2007 season, the Assad Brothers performed Joaquin Rodrigo’s “Concierto Madrigal for Two Guitars” and Sérgio’s arrangement of Piazzolla’s “Four Seasons of Buenos Aires” with the Los Angeles Philharmonic at the Hollywood Bowl.   The Assads were also featured performers on James Newton Howard’s soundtrack to the movie “Duplicity,” starring Julia Roberts and Clive Owen. In the 2010-11 and 2011-12 seasons, the brothers toured a project entitled “De Volta as Raizes” (Back to Our Roots) featuring Lebanese-American singer Christiane Karam, percussionist Jamey Haddad and composer/pianist Clarice Assad.

In February 2011, Odair Assad performed his first solo guitar concert tour in North America featuring concerts in New York and Montreal. Sergio Assad has written another concerto for his duo, called “Phases.”  It was premiered with the Seattle Symphony in February 2011. In the meantime he has been nominated for yet two more Latin Classical Grammys in the Best Classical Composition Category for his piece for the LA Guitar Quartet and the Delaware Symphony entitled, “Interchange” and for “Maracaipe” for the Beijing Guitar Duo.  In the fall of 2011, five of the members of the Assad family: Sergio, Odair, Badi, Clarice and Carolina – joined together again for another evening of new and favorite Brazilian works.  Their tour included stops in Qatar, Sweden, Germany, The Netherlands (to open the “Brazil Festival”) at The Amsterdam Concertgebouw and three concerts in Belgium with a finale at Le Palais des Beaux Arts in Brussels.

The Assad Brothers collaboration with cellist Yo-Yo Ma is ongoing. In 2003 the Brazilian record “Obrigado Brazil” was released featuring Rosa Passos, Egberto Gismonti and Cyro Baptista. Sérgio arranged several of the works on the disc, which captured a Grammy in 2004.  In 2009, the brothers were featured on Yo-Yo Ma’s chart topping release, “Songs of Joy & Peace,” which features other guest artists as diverse as James Taylor and Dave Brubeck.  In the piece “Família” Yo-Yo plays Sérgio’s composition featuring mother, Angelina Assad, sister Badi and children Clarice, Rodrigo and Carolina.  The release topped both the classical and the mainstream Billboard charts and won a Grammy for Best Classical Crossover.  In April 2012, Sergio and Odair toured North America with Yo-Yo Ma and pianist Kathryn Stott, in a program of Latin American works as arranged by Sergio as well as some of his original compositions, highlighted by concerts at the new Smith Center in Las Vegas and Chicago’s Symphony Hall.

In October of 2012, Sérgio and Odair premiered a performance of a new duo guitar concerto written for them by Sergio’s daughter Clarice Assad, at the Pro-Musica Chamber Orchestra in Columbus, Ohio.  Soon after, the brothers returned to the University of Arizona in Tucson as visiting artists with support from the D’Addario Family Foundation.  They headlined the 4th International Tucson Guitar Festival with two performances at Holsclaw Hall and master classes for advanced guitar students.  In the spring of 2013, Sergio and Odair planned another tour of their much loved trio with the inimitable Paquito D’Rivera as well as a record release of their project, “Dances from the New World.” In 2014, the brothers began a Brazilian Tour that celebrates 50 years of their career. In 2015, the tour continues, spanning a total of 27 Brazilian cities.

A kind of wizardry lies within the playing of Sergio and Odair Assad… they produce a supple, flawless unified sound. – The New York Times

Because they have been performing together for most of their lives, and because they play from memory, there is a lively interaction between them that creates the impression that they are improvising like a couple of virtuosic, perhaps even telepathic, jazz players. – The New York Times

… the best two-guitar team in existence, maybe even in history… no amount of anticipation could have prepared me for the Brazilian brothers’ daringly flexible, eerily unanimous ensemble playing. – The Washington Post

As performers, these two play like the close brothers they are. They pick up instantly on the other’s cues, respond as if intuitively and seem to be wired in to the same operating system. What’s projected is a sort of ‘ëuber-guitar,’ two instruments and one brain. – The Washington Post

Call it one of the most engaging musical presentations of the season. Better yet, call it a stunning display of the music of the Western Hemisphere. – The Los Angeles Times

They aren’t just soloists but a two-man, multi voice band of soloists who play instinctively well together, with consistent rhythmic intuition and soul. – The Los Angeles Times

The Assads’ virtuosity left the many guitarists in the crowd, including me, awe-struck. Their speed, their gorgeous tone, their uncanny musical memories (not a page of music appeared on the stage), and their ability to play thousands of notes without a single clinker, click or buzz are the stuff of guitar gods…an inspiring concert that celebrated the swooping energy of musical phrases and the irresistible beauty of the sound of two guitars – Milwaukee Journal Sentinel

…Sergio and Odair, two of the finest guitarists on the planet. – Journal Sentinel

The Brazilian-born Assad brothers…perform with almost telepathic unity – The Boston Globe

Throughout the concert, the brothers played as one… This was two persons, four hands, one mind. – Seattle Post-Intelligencer

…it’s not hard to imagine that acoustic guitar music, when in the hands of masters like Sergio and Odair Assad, is a musical window into the heart. – The New Jersey Star- Ledger


By Benjamin Verdery

It’s January 23, 1980. The phone rings. I pick it up only to hear my downstairs neighbor and dear friend Tom Humphrey’s voice.

Tom: Hey, you gotta come down now and hear these guys.
Me: Who?? I’m practicing, I’ll be down in a bit.
Tom: No, no, no, no, no …… Stop what you are doing and get down here, now!

Tom was on a path to becoming one the most celebrated guitar makers of his generation and of the world in general. His apartment, 120 West 72nd Street, #2C, had became a vortex for all things related to the classical guitar.

The Assad brothers had just arrived in New York to give their American debut at 92nd Street Y as part of the wonderful Classical Guitar at the Y series, sponsored by Augustine Strings. So it was a given that the Assad Brothers would visit Tom. In fact, Sérgio and Odair went on to record and perform throughout the world on Tom’s guitars as well as becoming very dear friends with him and his family.

I went down three flights to Tom apartment, as I lived above him in #5C. I entered, and there were the Brazilian brothers on the couch, each with one of Tom’s latest creations in their hands. Within no time they began to play Leo Brouwer’s Micropiezas from memory.

From that point on, my entire concept of the guitar’s sound, articulation expressivity and repertoire was turned upside down. I had never heard the classical guitar played in this brilliant manner and certainly never heard a duo remotely on the level of virtuosity and artistry they displayed.

The following evening was the actual 92Y concert. In short it was a game changer for all who attended. The audience and we guitarists in general experienced a concert the likes of which we had never before heard. All were completely inspired by the vitality and commitment they gave to the music.

Even The New York Times agreed, writing in its review that “…they play like twins, with an ensemble that is virtually perfect. And their technique is a marvel.” The Assads singlehandedly went on to make the concept of a guitar duo as a viable concert attraction in a way it had never been. All duos that have arrived since are in some way directly influenced by their life’s work.

The name Assad has become synonymous with the names of Segovia, Bream, Williams and Romero. Sérgio has become the most influential guitar composer since Leo Brouwer. Odair rapidly distinguished himself as one of the greatest virtuosi of his or any generation.

Together, they completely changed the landscape of the classical guitar and its repertoire. In addition to their playing, Sérgio and Odair are two of the warmest and most generous people any one could know. In a word, they are beloved. It is a great honor for all of us here at 92Y to present this concert celebrating their 50 years of concertizing. We can only bow to them and say a huge thank you for all the music they have given us. We do however have one request. Please brothers Assad, give us another 50 years at least!!

– Benjamin Verdery is artistic director of the 92Y Art of the Guitar series and chair of the guitar department at the Yale School of Music.


S É R G I O  &  O D A I R   A S S A D

Fantasia, Op. 54
  F. SOR (1778-1839)
Allegro dans le gendre Espagnol

Selections from Pièces de Clavecin (arr. Sergio Assad)
  J. RAMEAU (1683-1764)
Musette en Rondeau
Le lardon
Les tendres plaintes
Le rapel des Oiseaux

Tonadilla para dos guitarras
  J. RODRIGO (1901-1999)
Allegro ma non troppo
Minueto pomposo
Allegro vivace

  E. GISMONTI (b. 1947)
Baiao malandro

~~ intermission ~~

  J. PERNAMBUCO (1883 – 1947)

Abismo de Rosas
  A. JACOMINO “Canhoto” (1887 – 1928)

A. SARDINHA “Garoto”
Jorge do Fusa
Gente Humilda
Lamentos do Morro

Tempo Feliz
  B. POWELL (1937-2000)

  P. BELLINATI (b. 1950)

Tihhiyya li Ossoulina
  S. ASSAD (b. 1952)

Ben Verdery

Ben Verdery

Ben Verdery
December 8 & 9, 2016

Fort Worth: Thu Dec 8, 2016 7:30pm
Kimbell Art Museum –
Renzo Piano Pavillion Auditorium

3333 Camp Bowie Blvd, Fort Worth, TX 76107   
click for tickets
Dallas: Fri Dec 9, 2016 7:30pm
Montgomery Arts Theater
Booker T. Washington High School
2501 Flora St, Dallas, TX 75201
click for tickets

Professor of Guitar at the Yale University School of Music and Artistic Director of the bi‐annual Yale Guitar Extravaganza since 1985, and Artistic Director of 92Y’s Art of the Guitar series (NYC) since 2006, Benjamin Verdery is hailed for his innovative and eclectic musical career.

Since 1980 he has performed worldwide in theaters and at festivals, including Theatre Carré (Amsterdam), Maverick Concerts (NY), the International Guitar Festival in Havana, Wigmore Hall (London), Festival Internacional de Guitarra de Taxco (Mexico), the Chamber Music Society of Lincoln Center and Metropolitan Opera in New York. His tours regularly take him throughout the US, Canada, Europe and Asia. He has recorded and performed with such diverse artists as Andy Summers, Frederic Hand, William Coulter, Leo Kottke, Anthony Newman, Jessye Norman, Paco Peña, Hermann Prey and John Williams.

Ben Verdery has released more than 15 albums, his most recent being Happy Here with William Coulter; and Branches, featuring works of Bach, Strauss, Jimi Hendrix, Mozart and the traditional Amazing Grace. His CD, Start Now, won the 2005 Classical Recording Foundation Award, while other recordings of note include Some Towns & Cities and his collaborations with John Williams (John Williams Plays Vivaldi) and Andy Summers (First you Build A Cloud). Future

recordings include one featuring Yale composers and one featuring his classical guitar arrangements: Randy Newman, Neil Young, Prince, Hendrix, John Lennon, Eddy Vedder, The National, Cream, Elvis and others yet to be arranged.

Many of the leading composers of our time have created music for Ben, including Ezra Laderman, Martin Bresnick, John Anthony Lennon, Anthony Newman, Roberto Sierra, Van Stiefel and Jack Vees. Of particular note was the commission by the Yale University Music Library of a work by Ingram Marshall for classical and electric guitars. Ben Verdery and Andy Summers premiered the work, Dark Florescence, at Carnegie Hall with the American Composers Orchestra. In 2012, the two guitarists appeared at the annual Amsterdam Electric Guitar Heaven.

Benjamin Verdery is also a prolific published composer in his own right with many of his compositions having been performed, recorded and published over the years. In 2012, he was commissioned to compose two works: Penzacola Belongs To All, commissioned by the Pensacola Guitar Orchestra in celebration of their 30th Anniversary (premiered in Pensacola October 2012) and Stand in Your Own Light for guitar and koto, commissioned by the Kyo‐Shin‐An Arts with funding from the New York State Council for the Arts (premiered in New York City November 2012). In 2010, The Assad Duo premiered Ben’s work, What He Said. Commissioned by the 92 St Y, the work is dedicated to the late luthier Thomas Humphrey. Other recent works have included Now and Ever (for David Russell, Telarc), Peace, Love and Guitars (for John Williams and John Etheridge, SONY Classical), Capitola (John Williams, SONY Classical) and Give (for eight guitars). This last was composed specifically for Thomas Offermann and the guitar ensemble of the Hochschule for Music and Theatre (Rostock, Germany) and dedicated to the memory of U.S. Senator Edward Kennedy. Ben’s Scenes from Ellis Island, for guitar orchestra, has been extensively broadcast and performed at festivals and universities in the United States, Canada, New Zealand and Europe, and the Los Angeles Guitar Quartet included it on their CD, Air and Ground (Sony Classical). Doberman‐Yppan (Canada) is currently publishing his solo and duo works for guitar, and Alfred Music distributes the solo pieces from Some Towns & Cities as well as instructional books and video. Other compositions are available at Ben’s web site. Most recently, Wake Forest University asked Ben to compose a new solo guitar work based on a poem by Pablo Neruda for its homage to Pablo Neruda in September, 2014 and later in 2014 Ben finished scoring the documentary film Corida Goyesque, an art film about, among other things, the role of the bull in art.

In 2007 Ben was appointed an honorary board member of the Suzuki Association of the Americas, and the summer of 2015 marked the 16th anniversary of his annual Maui Master Class on the island of Maui, Hawaii.



Dec 8 & 9, 2016 – Fort Worth – Dallas

Prelude & Wedding Dance (2004)                                                               Benjamin Verdery (b.1955)
For Rie

Satyagraha (2001)                                                                                               Benjamin Verdery (b.1955)
For Guri

Joaquin is Dreaming (Joaquin Soñando) (2008)                                  Martin Bresnick (b. 1946)
Joaquin Imagines a Part of His History                                                                  (written for Benjamin Verdery)
(Joaquin Imaginarse una Parte de su Historia)
ii. Joaquin Foresees a Future (Joaquin Preve un Futuro)
iii. Joaquin is Sleeping, Joaquin is Dreaming (Joaquin Durmiente, Joaquin Soñando)

Soepa (1999)                                                                                                                  Ingram Marshall (b. 1945)
For digital delay and loops                                                                                   (written for Benjamin Verdery)




Now and Ever (2007-8)                                                                           Benjamin Verdery (b.1955)
For David and Marie
(In 2 movements)

From Eleven Etudes:                                                                                 Benjamin Verdery (b. 1955)
Worry Knot
Let Go
Now You See It, Now You Don’t, Now You Do
Start Now

Adagio. K 540                                                                                                    WA Mozart (1756-1791)
arranged by Benjamin Verdery

Three North American Songs                                                                 arranged by Benjamin Verdery
1- Kiss                                                                                                                      Prince (1958-2016)
2- In Germany Before the War                                                                           Randy Newman (b. 1943)
3- Purple Haze                                                                                                       Jimi Hendrix (1942-1970)

Special Non-Season Gala:
Vicente Amigo
March 20, 2016

Special Non-Season Gala Concert
Vicente Amigo

Sun Mar 20, 2016 7:30pm
Irving Arts Center – Carpenter Performance Hall
3333 N MacArthur Blvd, Irving, TX 75062
click for tickets

Hailed as “the Sultan of Duende” and already an international sensation, Spanish-born flamenco guitarist Vicente Amigo won the Latin Grammy in 2001 for Best Flamenco Album for his BMG debut City of Ideas. Like Amigo’s first three albums, it has won him new fans in his homeland and across Europe, as well as in South America and Japan. Windham Hill/RCA will introduce the guitarist to American audiences on August 6 with the first U.S. release of City of Ideas, an expansive East-meets-West affair that combines the solea rhythm of puro flamenco with elements of buleria, bolero, rumba, tango and alegria.

Over the past decade, Amigo’s incredible global appeal has given him the opportunity to perform in many parts of the world, from the Far East to Cuba, Morocco and Tunisia to South America. From his childhood in the little village of Guadalcanal, Spain, the guitarist has been a great student of culture. His exposure to a wide range of musical expression and rhythmic possibility has allowed Amigo to expand beyond his trademark “roots of flamenco” approach to incorporate a mix of what he calls “other feelings, outside roots.” As its title implies, City of the Ideas finds Amigo expressing an open heart to a dynamic “world of mixes.” “Studying” in this ciudad led him to discover that, as a race, we are about more than just one thing – in all ways, but especially musically.

“I love flamenco music as a foundation because it allows me to tell a story in a very different, non-linear fashion,” says Amigo. “The organization of that tale is less important than the feeling of it. I can start at the end or the beginning and explore and insert many themes upon the main theme, adding little messages along the way. There can be many hidden meanings within the main storyline as I change melody and harmony. There doesn’t have to be a specific ending. It’s just a matter of following my soul when I find something good to express in the song.”

In the early stages of recording, Amigo became enamored of a classic Greek poet named Kavafis and especially a poem entitled “The First Step.” “The piece is about an old poet in conversation with a young poet. The youngster brags that he’s written a masterpiece that can never be surpassed, but the older man puts him in his place and tells him he has so much to learn, that such talk is foolish. The young man eventually realizes the wisdom of this and says thank you. With City of Ideas, I related to the young poet, opening myself up to new experiences and new influences. Each song is like a big ‘thank you’ to all the life experiences I’ve had to draw from. I see music as a realm with no frontiers and each project allows me to explore even further.”

While Amigo’s strings are always front-and-center, City of Ideas features many notable outside performers – vocalists Khaled, Pedro Aznar, Dieguito “El Cigala” and Montse Cortes (with Amigo peforming some himself); bassist Alfredo Paixao; drummer Mino Cinelu and percussionists Tino di Geraldo, Chaboli and Echegaray Street. Recorded at the Filigrana Studios in Cordoba (Amigo’s adopted hometown) and mixed in Madrid, the collection is orchestrated and conducted by Joan Albert Amargos.

The first international single from City of Ideas was “Tres notas para decir te quiero” (“Three Notes To Say I Love You”), a folksy, loping romance with a few splashes of subtle brass. To Amigo, these three notes carrying all of his music are the rhythm, the melody and the indefinable spirit he simply terms “the natural flow.” “La Tarde es caramelo (Alegrias),” or “The afternoon is sweetness,” is happy, upbeat and intensely percussive, blending elegant strumming and dreamy vocals with irresistible handclaps and a lush harmonica solo by Antonio Serrano. “Ojos de la Alhambra” (“Eyes of the Alhambra”) is a soulful, Eastern-influenced meditation on the Spanish city of Alhambra, the last Arab enclave in Spain, located in the larger city of Granada. “It’s a magical place for me, where I could imagine the eyes of the city watching as I composed the song in its honor,” says Amigo.

Amigo’s guitar swirls with a call-and-response pattern of voices on the joyful tribute song “Compare Manuel (Tangos)” (“Manuel My Brother”), which is dedicated to a close friend’s godson. Amigo makes a special dedication also to his son, Vicente Jr., on “Bolero de Vicente” (“Vicente’s Bolero”), a playful improvisational number played solo with the occasional percussive slap. “Tata” is a meringue flamenco piece that begins with sparse guitar and handclaps and comes to incorporate tribal drumbeats, breathy wordless vocal passions and increasingly manic string explosions. The fiery, energetic fiesta “Cordoba” is Amigo’s showcase of the intricate, quick copla flamenco style. “This is a very personal vision of my home, letting everyone know that this place is united with my heart,” he says. “I am there in every old street, where I feel a pulse and inspiration in my soul. It’s a place that I always draw great comfort and new ideas from.” The title track closer plays like a graceful film score from a dusty romantic Western. Amigo’s laid-back playing is enhanced by the gorgeous, lonesome harmonica longings of Antonio Serrano.

Vicente Amigo has been called by some fans “the natural continuation of Paco de Lucia,” and indeed it was a television performance by the legendary flamenco master which inspired Amigo, all of three years old, to visualize his future playing that instrument in that style. Still, he says, “I believe that flamenco has always been something for adults, not just for children. To understand flamenco, you need maturity. You can play the guitar as a child. You understand the technique. But the essence of flamenco is something that requires maturity.”

Amigo draws that notion from experience. He began playing at age eight, after falling in love with the sound of a beloved neighbor playing the guitar. He learned from several legendary performers, including Juan Munoz and Merengue de Cordoba, and by fifteen, he was attracting attention as the protogee of Paco Peña. He spent six years playing in a band with Manolo Sanlucar and then worked with the legendary Camaron de La Isla. Towards the end of the eighties, Amigo was receiving various awards from the flamenco world for his solo performances; his breakthrough came in 1991 when he shared the stage with de Lucia during the international guitar festival “Leyendas de la Guitarra” in Seville. Other participants were Bob Dylan, Keith Richards, Phil Manzanera, Joe Cocker, Jack Bruce and Richard Thompson. That same year, Amigo recorded his debut solo album De Mi Corazon al Aire, which received two media awards. Pat Metheny quickly called him the greatest player of the Spanish guitar, and Guitar Player magazine named him Best International Flamenco Guitarist.

In Martinica ’92, he shared the stage with Stanley Jordan, an international collaboration led him to work with artists such as Milton Nascimento, Wagner Tiso, Al DiMeola, João Bosco and John McLaughlin. His second recording, 1995’s Vivencias Imaginadas, included a refined effort with de Lucia as a homage to Pat Metheny. Two years later, his recording Poeta received the flamenco awards given by the “Premios de la Musica,” the Spanish equivalent of the Grammys. In addition to his acclaimed solo performances, Amigo has also accompanied numerous vocalists, including El Pele and Luis De Cordoba and various Spanish dancers.

“Making music for so many years has carried me deep into the heart of myself, to the place where I have come to understand what it means to be a fully realized human being,” says Amigo. “Music plays a very important part in the world today, and it’s wonderful to be a part of bringing that joy to people. When people listen to me play, they know it’s coming from a very real and truthful place inside me.”

“Vicente Amigo has conquered a well deserved place of honour in the difficult world of the flamenco soloist guitar. During the presentation in Madrid of his last album “Ciudad de las ideas”, he poured out a musicality in which his flamenco style is open to other sensibilities. The ideas that Amigo brings to the flamenco really magnify it.”


Season Finale!
Jason Vieaux
April 7 & 8, 2016

Jason Viaux

Season Finale!
Jason Vieaux
April 7 & 8, 2016



Fort Worth: Thu Apr 7, 2016 7:30pm
Kimbell Art Museum – Renzo Piano Hall
3333 Camp Bowie Blvd, Fort Worth, TX 76107
click for tickets
Dallas: Fri Apr 8, 2016 8:00pm
University Park United Methodist Church
4024 Caruth Boulevard, Dallas, TX 75225
click for tickets

NPR describes Grammy-winning guitarist Jason Vieaux as, “perhaps the most precise and soulful classical guitarist of his generation,” and Gramophone magazine puts him “among the elite of today’s classical guitarists.” His most recent solo album, Play, won the 2015 Grammy Award for Best Classical Instrumental Solo. In June 2014, NPR named “Zapateado” from the album as one of its “50 Favorite Songs of 2014 (So Far).”

Vieaux has earned a reputation for putting his expressiveness and virtuosity at the service of a remarkably wide range of music, and his schedule of performing, teaching, and recording commitments is distinguished throughout the U.S. and abroad. His solo recitals have been a feature at every major guitar series in North America and at many of the important guitar festivals in Asia, Australia, Europe, and Mexico. Recent and future highlights include returns to the Caramoor Festival, Philadelphia Chamber Music Society, and New York’s 92nd Street Y, as well as performances at Argentina’s Teatro Colon and Oslo, Norway’s Classical Music Fest. Vieaux’s appearances for Chamber Music Society of Lincoln Center, Music@Menlo, Strings Music Festival, Grand Teton, and many others have forged his reputation as a first-rate chamber musician and programmer. He collaborates in recitals this season with Escher Quartet, acclaimed harpist Yolanda Kondonassis, and accordion/bandoneón virtuoso Julien Labro. Vieaux’s passion for new music has fostered premieres of works by Dan Visconti, David Ludwig, Jerod Tate, Eric Sessler, José Luis Merlin and Gary Schocker.

Jason Vieaux has performed as concerto soloist with nearly 100 orchestras, including Cleveland, Houston, Toronto, San Diego, Ft. Worth, Santa Fe, Charlotte, Buffalo, Grand Rapids, Kitchener-Waterloo, Richmond, Edmonton, IRIS Chamber, Chamber Orchestra of Philadelphia, Chautauqua Festival, and New Hampshire Music Festival. Some of the conductors he has worked with include David Robertson, Miguel Harth-Bedoya, Jahja Ling, Stefan Sanderling, Michael Stern, David Lockington, Steven Smith, and Edwin Outwater.

Vieaux continues to bring important repertoire alive in the recording studio as well. His latest album Together, with harpist Yolanda Kondonassis, was released in January 2015. Of his 2014 solo album PlaySoundboard Magazine writes, “If you ever want to give a friend a disc that will cement his or her love for the guitar, this is a perfect candidate,” while Premier Guitar claims, “You’d be hard pressed to find versions performed with more confidence, better tone, and a more complete understanding of the material.”

Vieaux’s previous eleven albums include a recording of Astor Piazzolla’s music with Julien Labro and A Far Cry Chamber Orchestra; Bach: Works for Lute, Vol. 1, which hit No. 13 on Billboard’s Classical Chart after its first week and received rave reviews by Gramophone, The Absolute Sound, and SoundboardImages of Metheny, featuring music by American jazz legend Pat Metheny (who after hearing this landmark recording declared: “I am flattered to be included in Jason’s musical world”);and Sevilla: The Music of Isaac Albeniz, which made several Top Ten lists the year of its release. Vieaux’s albums and live performances are regularly heard on radio and internet around the world, and his work is the subject of feature articles in print and online around the world, including such magazines as Acoustic Guitar, MUSOGramophone, and on NPR’s “Deceptive Cadence.” Vieaux was the first classical musician to be featured on NPR’s popular “Tiny Desk” series.

In 2012, the Jason Vieaux School of Classical Guitar was launched with ArtistWorks Inc., an unprecedented technological interface that provides one-on-one online study with Vieaux for guitar students around the world. In 2011, he co-founded the guitar department at The Curtis Institute of Music, and he has taught at the Cleveland Institute of Music since 1997, heading the guitar department since 2001.

Vieaux is a member of the Advisory Board of the Guitar Foundation of America, and is affiliated with Philadelphia’s Astral Artists. His primary teachers were Jeremy Sparks and John Holmquist. In 1992 he was awarded the prestigious GFA International Guitar Competition First Prize, the event’s youngest winner ever. He is also honored with a Naumburg Foundation top prize, a Cleveland Institute of Music Alumni Achievement Award, and a Salon di Virtuosi Career Grant. In 1995, Vieaux was an Artistic Ambassador of the U.S. to Southeast Asia.

Grand Overture, Opus 61                                                                                        Mauro Giuliani  (1781-1829)



Lute Suite No. 1 in e minor, BWV 996                                                                Johann Sebastian Bach  (1685-1750)

Prelude; presto


“Drei Tentos” from Kammermusik (1958)                                                                Hans Werner Henze  (b. 1926)



Capricho Catalán (from España Op. 165)                                                                  Isaac Albéniz  (1860-1909)

Rumores de la Caleta: Malagueña (Recuerdos de Viaje, Op.71, No. 6)
(arr. Vieaux)



Jongo                                                                                                                                  Paulo Bellinati  (b. 1950)



Sonata for Guitar, Opus 47                                                                                          Alberto Ginastera  (1916 – 1983)



Always and Forever / A Felicidade                                                                                    Pat Metheny   (b. 1954)
                                                                                                                                                     (arr. Vieaux)

                                                                                                                                      Antônio Carlos Jobím  (1927-1994)

                                                                                                                                                     (arr. Roland Dyens)



In a Sentimental Mood                                                                      Edward Kennedy “Duke” Ellington  (1899-1974)


Misionera                                                                                                        Fernando Bustamante  (1915-1979)


Program Notes


Grand Overture, Opus 61                                                                                           Mauro Giuliani



Mauro Giuliani was one of the greatest virtuosi of the guitar in the nineteenth century. Although the use of the guitar in mainstream classical music was relatively novel at the time, Giuliani’s playing must have been extraordinary indeed, as the list of musicians that he associated with includes many of the most important of the era: Beethoven, Weber, Moscheles, Mayseder, Hummel, and probably Paganini and Rossini. Some of his most impressive accomplishments include performing one of his own concerti conducted by Carl Maria von Weber and participating in the premiere of Beethoven’s seventh symphony, presumably playing the other instrument that he excelled at: the ’cello.

Giuliani’s career is divided into three periods, according to the countries in which he lived: Italy (1781-1806), Vienna (1806-1819), and a return to Italy (1819-1829). For many reasons, not least of which was the domination of opera- and by extension a popular taste for the grand and the spectacular- many talented Italian guitarists emigrated. These included Moretti, Carulli, Molino, Carcassi, Zani de Ferranti, and Regondi, as well as Giuliani. While Paris was the destination of many Italian guitarists, Giuliani chose Vienna, which had a profound impact on his career and compositional style. It was there that he met many of the leading musicians of the time, and it was there that he first began using sonata form in works for solo guitar.

Sonata form involves the presentation of two themes which initially contrast in key and usually contrast in style and mood as well. These themes are then developed with modulation creating a sense of tension, culminating at the end in a reiteration of both themes, this time both in the home key. It is at its essence a dramatic form and well suited to a dramatic genre such as the opera overture.

The practice of composing an orchestral overture to introduce an opera existed almost since the beginning of the genre. The overture was intended to create a sense of excitement for what was to come, and in the hands of a skilled composer, would foreshadow the drama and conflict of the plot. Some overtures were so popular and self-sufficient that they became independent concert works. Eventually composers began to write works called overtures that had no tie to a larger work at all- Giuliani’s Grand Overture, Op 61 is one example of this practice.

Grand Overture begins with a slow introduction in A minor. Its sense of gravity comes from the use of dissonant diminished chords, chromatic lines, and a pedal on the dominant (a low E) that takes up about the final two thirds of the introduction. This is followed by the main section of the piece, which is fast and in sonata form. Although it is in A major, Giuliani waits eight measures to firmly establish the key, prolonging the instability of the introduction and creating a sense of forward momentum. Long stretches of fast arpeggios make this a virtuosic showpiece, and one can hear an entire orchestra of sound contained within the six strings of the guitar. — Erik Mann


Lute Suite No. 1 in e minor, BWV 996                                                                       Johann Sebastian Bach  (1685-1750)

Prelude; presto

Bach’s works for lute* represent perhaps the single most important body of work in the guitar repertoire. Among these works are dance suites, including the Suite in E Minor, BWV 996. This work, like most suites of the late Baroque, follows the standard form of: Allemande, Courante, Sarabande, and Gigue with optional movements. Bach chose to include the Prelude and Bourrée in addition to the four standard movements.

The Prelude to BWV 996 imitates the French overture. This style gained popularity in the seventeenth century through the orchestras of Jean-Baptiste Lully at the court of Louis XIV. A French overture begins with a slow section with dotted rhythms, scale flourishes, and heavy ornamentation while maintaining an improvisatory feel. This is followed by a fast, fugal section, beginning with one instrument playing a melody which is then imitated by other instruments entering successively. Bach’s slow section begins with a single voice that seems to wander downward, eventually encompassing a wide pitch register. Following this are mostly scalar passages and chords in dotted rhythms. The fast section begins with a seemingly endless stream of voices stating the subject until, at almost the halfway point, the subject is fragmented within a strikingly dense texture. This movement ends, like most in this suite, with a Picardy third- a major tonic chord in a piece that is otherwise in a minor key.

The remainder of the movements are dances. The Allemande’s flowing lyricism offers a welcome respite from the intensity of the Prelude. It too features skillful counterpoint but with a lighter texture. The Courante is in French style, which typically features a moderate tempo, a time signature of 3/2, and a variety of rhythms- as opposed to the Italian version of the dance, which is fast, in 3/4 and with constant eighth-note or sixteenth-note rhythms. This movement is one of the most countrapuntal examples of this dance in the repertoire. The Sarabande is often the emotional heart of Bach’s suites, and this case is no exception. It is a long-lined aria of intense passion. The Bourrée is the best-known movement of all of Bach’s works for the lute. Its two-voice texture creates a lightness and a bounce that eases the listener out the reverie of the Sarabande. It is also the only movement not to end with a Picardy third. The Gigue features voices that alternate between contrary and parallel motion. The A section has many prominent descending lines, while the B section has more ascending lines, leading to the glorious end of the suite on an E major chord.

*Though it is still a matter of debate, most scholars believe that these works were conceived and originally performed on the lautenwerk or lute-harpsichord, an instrument similar to the harpsichord, but which used gut instead of metal strings to imitate the sound of the lute. Erik Mann


“Drei Tentos” from Kammermusik (1958)                                                              Hans Werner Henze  (b. 1926)

Hans Werner Henze (b. 1926-) is among the most prolific and successful of contemporary German composers. He began formal musical training relatively later in life (in his twenties) with Wolfgang Fortner, and his compositional style reveals a unique voice that melds some of the techniques of serial composition with a Stravinsky influence.

Drei Tentos is part of a larger work entitled Kammermusik (Chamber Music). This 12-movement composition (later extended with an epilogue) was written in 1958 for the tenor Peter Pears, guitarist Julian Bream, and 8 other instrumentalists. Henze describes it as “an encounter between Germany and Greece as conjured up by a poet (Friedrich Hölderlin) whose brain was clouded by insanity and who expressed his vision in wonderful but apparently disjointed phrases.”

“Tento” comes from the Spanish term “tiento”, a free-form fantasy popular in Renaissance Spain. These 3 interludes for solo guitar are very commonly excerpted from the larger work. While they clearly exhibit 20th century tonal language as well as the fragmentation that Henze describes, they also feature a neo-romantic melodicism, particularly in the first and third movements, which help to establish their otherworldly atmosphere. — Erik Mann


Capricho Catalán (from España Op. 165)                                                                     Isaac Albéniz  (1860-1909)

Rumores de la Caleta: Malagueña (Recuerdos de Viaje, Op.71, No. 6)
(arr. Vieaux)

Isaac Albéniz was a virtuoso pianist, and along with Enrique Granados and Manuel de Falla, is considered to be one of the three greatest Spanish composers of all time. He began his career as a composer of cosmopolitan romantic music. Upon meeting the influential musicologist and composer Filip Pedrell, however, Albéniz’ music shifted toward the Spanish nationalist style. From that point on virtually all of his works were heavily inspired by traditional Spanish music.

Capricho Catalán refers to the composer’s native region of Catalonia in northeast Spain. Long melodic lines spun over a rocking accompaniment create a sense of timelessness and reverence for his home.

Though from Cataluña to the north of Spain, Albéniz especially loved flamenco music from the southern region of Andalusia. In flamenco one can hear the influence of many Eastern cultures, including the Moors (who ruled Spain for about seven centuries), nomadic gypsies (who some believe originated in northern India), and the Jews. As a consequence of this eclectic mix, flamenco music has an unmistakable and exotic sound. Rumores de la Caleta is an example of the flamenco form called Malagueña, a regionalized form of the fandango, from Málaga. The fandango is in triple meter, grouped into four-measure phrases. The Phrygian mode is used extensively, which in the key of E uses all of the natural notes, and in flamenco uses not only a G-natural, but also a G-sharp to make the tonic chord major instead of minor. The A section of Rumores consists of fiery rhythmic passages alternating with falsetas (brief melodic lines). The B section is an example of a copla– an extended melodic passage. As is common in the copla, it modulates to the key of C major, which shares the same scale (without the G-sharp) as E Phrygian. — Erik Mann




Jongo                                                                                                                          Paulo Bellinati  (b. 1950)

Brazilian guitarist/composer Paulo Bellinati (b.1950) has achieved great popularity with his colorful compositions in the style of his native country. The most well-known of these is Jongo, based on a Brazilian dance of the same name which uses 3/4 and 3/2 rhythms and accents over an underlining time signature of 6/8. Originally written for his jazz band Pau Brasil, Bellinati’s piece achieved its greatest success when the composer arranged it for solo guitar. After receiving a first-place prize in an international competition for Jongo, Bellinati also made a duo arrangement for the great Brazilian guitarists Sérgio and Odair Assad. Both the solo and duo versions are fiery showpieces that take the listener on a colorful journey through Brazil while retaining so much of the original texture that it is easy to imagine hearing an entire jazz band. — Erik Mann 


Sonata for Guitar, Opus 47                                                                                    Alberto Ginastera   (1916 – 1983)


Of Argentine composer Alberto Ginastera (1916-1983), one might say the guitar was in his blood. Indeed, two of his early piano works, Danzas Argentinas, Op. 2 and Malambo for Piano, Op. 7, explicitly quote the six open strings of the guitar, as if tuning up for what was to follow. Yet despite his affinity for the guitar, he never actually wrote anything for it until late in life. Doubtless he was wary of the guitar’s notorious difficulty for non-players. “Although I had been encouraged to compose for the guitar from the time I was a student, the complexity of the task delayed my creative impulse, even though the guitar is the national instrument of myhomeland.”

In 1976, however, Ginastera decided he had delayed long enough. A joint commission arrived from guitarist Carlos Barbosa-Lima and Robert Bialek, owner of Discount Record and Book Shop, who wanted to celebrate the 25th anniversary of his store. Noting that much of the guitar repertoire consisted of little pieces, Ginastera set himself to write a four movement tour de force. It was premiered on November 27 in Washington D.C. by Barbosa-Lima. Although Ginastera later revised the piece in 1981, it was to remain his only work for guitar.

The composer wrote of his guitar sonata: “The first movement is a solemn Prelude, followed by a song which was inspired by Kecua music (Ginastera’s own curious term for “Quechua,” an indigenous tribe of northwestern Argentina) and which finds its conclusion in an abbreviated repetition of these two elements. Scherzo, which has to be played ‘il piú presto possible,’ is an interplay of shadow and light, nocturnal and magical ambiance, of dynamic contrasts, distant dances, of surrealistic impressions. Canto is lyrical and rhapsodic, expressive and breathless like a love poem. Finale is a quick spirited rondeau which recalls the strong bold rhythms of the music of the pampas.” — Tom Poore


Always and Forever / A Felicidade                                                   Pat Metheny   (b. 1954)
(arr. Vieaux)                 (arr. Roland Dyens)

                                                                                                                       Antônio Carlos Jobím  (1927-1994)


American jazz guitarist and composer Pat Metheny (1954-) inhabits a rare confluence in the music world: He has had an enormous influence over subsequent generations of musicians while enjoying the respect and admiration of his musical colleagues, all the while experiencing one of the most popular and successful careers in American jazz music. — Jason Vieaux

Antônio Carlos Jobím is widely considered as the most important innovator of the Brazilian bossa nova style. Several years before his collaboration with Stan Getz would propel him to international fame, Jobím wrote much of the score for the award-winning film Opheu Negro (Black Orpheus). This modern take on the classic tragedy of Orpheus and Eurydice is set in Brazil and opens with the song A Felicidade and the line that sets the tone for the plot: “Sadness has no end; happiness does”. A Felicidade would go on to be one of Jobím’s many hits and has been arranged and recorded by many artists. The present arrangement by French guitarist Roland Dyens has become popular for its infectious groove and flashy flourishes, while retaining the catchy lyricality of the original song. — Erik Mann


In a Sentimental Mood                                                                Edward Kennedy “Duke” Ellington  (1899-1974)

A composer, arranger and bandleader, Duke Ellington was among a few who elevated jazz to the status of art when the medium was still young. His contributions would ultimately be recognized with presidential honors, 13 Grammy awards, a Pulitzer Prize and a French Legion of Honor. Among his many hits is In a Sentimental Mood, which according to the composer was improvised at a party in order to calm two women who had become upset. It was first recorded instrumentally by Duke Ellington’s orchestra, and lyrics were added later. The essence of this song can be summarized in the lyrics “On the wings of every kiss drifts a melody so strange a sweet; in this sentimental bliss you make my paradise complete.” — Erik Mann


Misionera                                                                                                        Fernando Bustamante  (1915-1979)

Argentinean composer Fernando Bustamante had a great love for both classical and Latin American popular music. Misionera, originally for piano, falls completely in the latter category, with all of the rhythmic drive and catchy melodies of a great pop song. Its title probably refers to the Province of Misiones in Northeast Argentina. Bustamante’s compatriot Jorge Morel created this arrangement for solo guitar, which has now become its best-known version. Morel includes an almost constantly moving bass line and the use of tremolo to create the illusion of sustained notes. — Erik Mann

Jason Vieaux uses Augustine strings and plays a guitar made by Gernot Wagner, Frankfurt

He is represented by Jonathan Wentworth Associates, Ltd.

Jason Vieaux is represented by Jonathan Wentworth Associates, Ltd.

For more information, visit; Jason is tweeting @JasonVieaux, and his Facebook fan page is

Duo Deloro
Adam Del Monte & Mak Grgic
March 10 & 11, 2016

 Duo Deloro, Del Monte and Grgic - March 10 & 11, 2016

Duo Deloro
Adam Del Monte & Mak Grgic
March 10 & 11, 2016



Fort Worth: Thu Mar 10, 2016 7:30pm
Kimbell Art Museum – Renzo Piano Hall
3333 Camp Bowie Blvd, Fort Worth, TX 76107
click for tickets
Dallas: Fri Mar 11, 2016 8:00pm
University Park United Methodist Church
4024 Caruth Boulevard, Dallas, TX 75225
click for tickets

In a new and exciting collaboration, guitarists Adam del Monte and Mak Grgic team up for a fresh and spontaneous duo, with their program “La Buena Vida”, taking you on a journey through Latin American and Spanish landscapes. Brand new arrangements of Guastavino, Granados, Albeniz, traditional Argentinian Tangos and original flamenco compositions by Adam del Monte, cast a renewed spirit into the world of the guitar duo expressed through two dynamic artists, each with their own voice.

A New Musical Landscape

Because a path of musical diversity has opened up in recent years in classical music and the classical guitar world there is space for a path of versatility and inclusiveness. In this program that Mak and Adam are offering, you will find a wide array of styles and flavors, ranging from the tradition of the Spanish “romantics”, like Albeniz and Granados; to the more 20th century edginess of Ginastera, the populism of Guastavino, to the out right vanguard of progressive flamenco compositions by Adam del Monte, arranged by him for two guitars. Mak, being a young and versatile classical guitarist with much experience in other styles, offers the perfect complementary counter balance to del Monte’s style.  In a world of guitar duos, this one sounds completely fresh and rooted in attention to detail. 

Both Artists are inspired and versatile guitarists, with a boundaryless approach to their instruments. The New York Times called Mak “imaginative” and “expressive,” and Classics Today proclaimed that “Mak Grgic’s abundant, yet tasteful guitar virtuosity leaves a powerful impression.” Mak’s repertoire spans centuries of music, and after performing the music of Sylvius Weiss at the National Gallery of Art in Washington D.C., the Washington Post called him “A guitarist to keep an eye on.” His first commercial CD, Cinema Verismo has been heard in the United States and Canada on hundreds of radio stations. It has been a CD of the week and a download of the week on many NPR Stations. Mak has also taken to performing some of the great contemporary composers of our time, including Michael Gordon, Salvatore Sciarinno and Mario Davidovsky, and will be playing contemporary guitar duos with Dan Lipel. Mak also performs duos with Martin Chalifour, concertmaster of the Los Angeles Philharmonic. 

A composer in his own right, Adam Del Monte who has toured the world and recorded Osvaldo Golijov’s: Ainadamar with soloists such as Dawn Upshaw, lives and breathes the type of versatility that defies definition. He is more than a Flamenco master, taking latin and classical music and crossing it with influences from the Middle East. Classical Guitar Magazine stated emphatically, “And then there’s the Albeniz. If ever a composer was done to death on the guitar, it was surely he. And then along comes Del Monte with readings which give these tired old warhorses life anew. After a truly breathtaking Castilla, one naturally fears that he has peaked too soon, but the incredible Sevilla eliminated any such doubts. If any performer on any instrument has presented this work with such energy and brilliance, then it has escaped my notice.” The LA Times said of his work . “Flamenco has always been a world unto itself, so it’s news when artists of great technical and stylistic authority stretch beyond its limits to incorporate outside traditions.” In [his] “Flamenco Fusion,” guitarist Adam del Monte did just that, layering jazz, Middle Eastern and Western European Gypsy influences without blurring [its] powerful flamenco impetus.”

Highlighted Reviews of Adam and Mak

“Del Monte is a well-known proponent of the ‘new flamenco…Del Monte may be one of the most technically gifted guitarists in the business” Soundboard Magazine

“On this disc, the gifted young guitarist Mak Grgic uses different guitars to perform arrangements of music featured in film soundtracks; a flamenco instrument, for example, for Alberto Iglesias’s “Volverino.” Mr. Grgic’s imaginative, expressive playing is also heard in Stanley Myers’s “Cavatina”; an excerpt from Mascagni’s “Cavalleria Rusticana”; and selections by Bach, Albeniz, Albinoni, Bernstein and Nino Rota.” The New York Times, Vivien Schweitzer

“[On] Cinema Verismo…rest assured the 14 tracks add up to a well-contrasted and satisfying hour-long recital. More importantly Mak Grgic’s abundant, yet tasteful guitar virtuosity leaves a powerful impression…The accompanimental clusters in Granados’ Spanish Dance No. 5 provide an urgent commentary alongside the curvaceous main tune…Grgic brings understated eloquence to a simple and effective arrangement of Bernstein’s “Somewhere” from West Side Story…Aside from Grgic’s own talent for nuance and multi-hued voicings, the coloristic variety also is due to his use of different instruments throughout the recital.” Classics Today, Jed Distler

“Flamenco has always been a world unto itself, so it’s news when artists of great technical and stylistic authority stretch beyond its limits to incorporate outside traditions. In [his] “Flamenco Fusion,” guitarist Adam del Monte did just that, layering jazz, Middle Eastern and Western European Gypsy influences without blurring [its] powerful flamenco impetus.” LA Times

The Washington Post proclaimed: (after a concert at The National Gallery in 2012) “He turned in a beautiful account of Weiss’s six-movement “L’Infidel” suite, exploring its contrasts and fascinating twists and turns – from the deeply personal Sarabande to the slow-gathering power of the Paisanne – with real intelligence. And Weiss’s Passacaglia in D Major (a masterwork if there ever was one) may have been the high point of the evening; a superb, finely detailed reading that showed Grgic is a guitarist to keep an eye on.”  and The Herald Tribune of Sarasota proclaimed, ” his technique is impressive and the rich tone he drew from his instrument was often striking.” Read more reviews on his website. 

 “… the last Piazzolla performances I intend listening to for the foreseeable future should also rate amongst the finest. The success of Del Monte’s accounts derives largely from the fact that he chooses two of the more lyrical works, both of which remain relatively free of the stuttering tango rhythms found elsewhere. The fact that Del Monte is clearly a prodigiously talented guitar player might also have something to do with it. Despite my acquired indifference to Piazzolla, I was utterly captivated by these stylish and articulate interpretations. Likewise the Bach, in which I became increasingly convinced by Del Monte’s uncompromising approach to ornamentation. It is well documented that I usually prefer my Bach played straight (i.e. without the customary surfeit of musical cherries on sticks and cocktail umbrellas), but Del Monte applies the bells and whistles with disarming flair and imagination. As a composer, Del Monte proves to be resourceful and imaginative. If the two original works presented here emerge as the least memorable items on the agenda, then it is only because Del Monte handles other people’s work so consistently well. And then there’s the Albeniz. If ever a composer was done to death on the guitar, it was surely he. And then along comes Del Monte with readings which give these tired old warhorses life anew. After a truly breathtaking Castilla, one naturally fears that he has peaked too soon, but the incredible Sevilla eliminated any such doubts. If any performer on any instrument has presented this work with such energy and brilliance, then it has escaped my notice. A magnificent debut from a guitarist with all the hallmarks of a major world talent.” Classical Guitar Magazine

“Following in the footsteps of fellow Balkan virtuoso Milos, Slovenian guitarist Mak Grgic’s talents are showcased on a cleverly compiled selection of classical pieces familiar from the Movies–not just the mandatory Cavatina, but orchestral pieces ingeniously arranged for solo guitar…the poignancy of Moricone’s Gabriel’s Oboe is deftly sustained by the solitude of solo guitar, Elsewhere, Nino Rota’s Godfather’s Waltz is even more stately than in the film, while Albeniz’s Asturias allows Grgic to indulge the core classical repertoire.” The Independent, U.K., Andrew Gill

More Performance History on Mak and Adam

Grgic has performed with orchestras such as the Spokane Symphony at The Festival at Sandpoint under Maestro Gary Sheldon, conductor of The Miami City Ballet, as well as the festival orchestra at Lancaster Festival, The RTV Slovenia Symphony Orchestra under Maestro Ivo Lipanovic, the Croatian Chamber Philharmonic with Maestro Mladen Tarbuk, the SNG Maribor Symphony Orchestra under Maestro Simon Krecic and St. Petersburg Symphony with conductor Vladimir Lande, former principal oboe of The St. Petersburg Philharmonic.

Recent and upcoming recitals include the New York Classical Guitar Society, Music Beyond Festival with Guitarist Dan Lippel at the Andy Warhol Museum in Pittsburgh, Sarasota Guitar Society, Austin Classical Guitar in recital with Martin Chalifour the Allegro Guitar Series in Texas, the University of Las Vegas in Nevada, Microfest, the National Gallery of Art in Washington D.C., the Newman Center for the Performing Arts, Denver, Strathmore Hall in North Bethesda, MD, Pepperdine University as a guest of Christopher Parkening, Portland Classical Guitar, Guitar Festival Mikulov, Triangle Guitar Society, Piran Music Nights and The Sounds of Six Strings, Cankarjev Dom, Slovenia amongst others. 

His collaborators have so far included such artists as Martin Chalifour (Concertmaster of The Los Angeles Philharmonic), cellist Jay Campbell, Joshua Roman, The Assad Brothers, John Sant’Ambrogio (former principal cello of the St. Louis Symphony Orchestra), flutist Christopher Matthews, and the JACK Quartet. 

Mak has been a young artist in Residence at The Da Camera Society of Los Angeles, and is a co-founder of DC8, Da Camera’s contemporary music ensemble, which strives to expand the definition of what a modern music ensemble can be. Of DC8, The LA Times called the players “skilled young musicians” they  were cited as an “inspiring addition to the contemporary music landscape in Los Angeles” 

Born in Ljubljana, he studied in Zagreb with the revered Ante Cagalj at the Elly Basic Conservatory of Music and obtained his Bachelor’s Degree with Alvaro Pierri at the Universitaet fuer Musik und darstellende Kunst in Vienna, Austria. At the moment he is pursuing his Doctoral Degree at the USC Thornton School of Music as a student of William Kanengiser, Scott Tennant of the Los Angeles Guitar Quartet and Brian Head, Assistant Dean at USC Thornton School of Music and Artistic Director of Guitar Foundation of America. 

He is currently a teaching assistant under the direction of Brian Head. His charitable activities include fundraising for Bosnian children with financial issues, including a recent recital in Zenica, BIH, where he raised funds for a local orphanage.  Mak is endorsed by both Savarez and D’Adarrio strings. He currently performs on an Antonius Müller, 2009. He has also been endorsed by Slovenian Luthier Samo Sali.

del Monte has performed the Concierto de Aranjuez with orchestras such as the Los Angeles Philharmonic at the Dorothy Chandler Pavilion, the California Philharmonic at Walt Disney Concert Hall on two occasions with Maestro Victor Vener, as well as with the Pacific Symphony with Maestro Carl St. Claire. He debuted his first flamenco guitar concerto in Jordan Hall, Boston, with the Boston Modern Orchestra Project (BMOP) with Maestro Gil Rose. His Second flamenco guitar concerto was debuted with the St. Monica Symphony, which was later also performed by the Moscow State Symphony Orchestra and the Simon Bolivar Symphony Orchestra in Venezuela. More performances include the Madrid Symphony Orchestra, the Budapest Radio Symphony Orchestra, The Ra’anana Synfonete in Israel. 

Recent and upcoming performances include Walt Disney Hall, Oviedo Opera house, Kolkata Guitar Festival in India, Philadelphia Opera Company, a tour with Indian slide guitarist, Debashish Bhatacharia thought the US.  Sao Paolo Opera House.  Special collaboration with the Tucson Ballet and Desert Song Festival. Del Monte has collaborated with dancer Lola Greco at the Hollywood Bowl with Maestro Miguel Hart-Bedoya, flamenco singing legend, cantaor – Enrique Morente, and Lole Montoya. Recording of a guitar solo rendition of the title theme (Avner’s Theme) for the sound Track CD of Stephen Spielberg’s movie Munich, music by John Williams, with Yousef Lateef with the Atlanta Symphony Orchestra. He is currently working on a flamenco opera. 

Born in Israel, but having grown up in Spain, Germany England and Holland, del Monte has learned the art of flamenco by living in the caves of Sacromonte in Granada Spain in his early childhood. His classical studies took place in Israel with maestro Menashe Baquiche and the Talma Yelin High School of the arts. Adam teaches Flamenco and Classical guitar at the U.S. C. Thornton School of Music. He plays a Tomas Delgado – which bares his name. It was made in 2013.


E. Granados:
    Los Majos Enamorados
    Zambra No. 9 From Danzas espanolas, op. 37
    Valenciana No. 7 From Danzas espanolas
arr. A. Cagalj


E. Granados:
Danza Espagnola No. 5
Mak Grgic

Luz Verde – Alegrías
Adam del Monte

A. Ginastera:
Criolla & Malambo
arr. A. Cagalj


I. Albeniz:
Evocacion from Iberia
arr. A. Cagalj

Traditional Argentinian Tangos
    S. Piana: Milonga Triste
E. Francini/H. Stamponi: Pedacito de Cielo C. Gardel: Melodia de Arrabal
G. Barbieri: Tu Vieja Ventana
A. Aieta: Corralera
A. Villoldo: El Choclo
arr. A. Cagalj

A. Del Monte:
Colegas (Rumba)
Dahab (Jaleo)

A Classical Gas
Carlos Barbosa-Lima & Larry Del Casale
November 19 & 20, 2015

Carlos Barbosa-Lima / Larry Del Casale Concert November 19 & 20, 2015

A Classical Gas
Carlos Barbosa-Lima & Larry Del Casale
November 19 & 20, 2015

Fort Worth: Thu Nov 19, 2015 7:30pm
Kimbell Art Museum – Renzo Piano Hall
3333 Camp Bowie Blvd, Fort Worth, TX 76107
click for tickets
Dallas: Fri Nov 20, 2015 8:00pm
University Park United Methodist Church
4024 Caruth Boulevard, Dallas, TX 75225
click for tickets

Celebrating twelve years of performing and recording as a duo, guitar virtuoso’s Carlos Barbosa-Lima and Larry Del Casale have been hailed on two continents for going beyond the everyday Classical guitar recital repertoire and transport their listeners into the swing of the Brazilian musical world and beyond.

Maestro Carlos Barbosa-Lima and Larry Del Casale were first introduced to one another in San Juan, Puerto Rico in 1997 by famed Puerto Rican composer Ernesto Cordero a dear friend to both Artists. At this time Mr. Del Casale was preparing a recording of Cordero’s music, the result was the acclaimed CD, Zenobia, and The Music of Ernesto Cordero.

“Carlos and Larry” as the duo is now referred to gave their first performance as a duo at Weill Recital Hall at Carnegie Hall in 2003 to a sold out house. The Duo returned again to Weill Hall in 2008 again to a sold out house. Since then Carlos and Larry have performed throughout Europe and the United States at dozens of Festivals and concerts including many club dates.

In 2013 Carlos Barbosa-Lima, along with Larry Del Casale and the Havana String Quartet, released “Beatlerianas” which was nominated for a Latin Grammy Award that same year.

In Concert

Carlos Barbosa-Lima and Larry Del Casale differed somewhat from the previous groups. Primarily known as a soloist and arranger, Barbosa-Lima does perform with a backing band on many occasions, but here virtuoso guitarist Del Casale fills that role, and does so with panache and verve. The two-guitar format really lets Barbosa-Lima stretch out as an orchestrator. Rounding out their program was four of Leo Brouwer’s Micropiezas, written when the composer was a teenager, in a very mature and swinging reading. Seen and Heard 

In a duo with Larry Del Casale, always in visual contact with each other, filled magnificent guitar sounds in a homogeneous match to the hall, so with “Sons de Carrilhoes” by Joao Pernambuco. Hot exotic sounds and rhythms created by the drummer Mauro Martins, who presented himself with a hand tambourine and subtly stated the rhythm. Three works by Antonio Carlos Jobim and “Tico Tico” could foam over the mood. Hersbruck Daily, Germany

On Recording                    

All the solo guitar music here is excellent, as one expects from Brouwer. The Micropiezas for two guitars, which the booklet calls a tribute to Milhaud, are delightful tunes, the last of which will be very, very familiar to every listener … and is subjected to well-crafted variations. Earlier in the program we hear three short, excellent guitar solos which paint vivid images in sound.

From Russia With Love
Irina Kulikova
October 1 & 2, 2015

Irina Kulikova

From Russia With Love
Irina Kulikova – October 1 & 2

Fort Worth: Thu Oct 1, 2015 7:30pm
Kimbell Art Museum – Renzo Piano Hall
3333 Camp Bowie Blvd, Fort Worth, TX 76107
click for tickets
Dallas: Fri Oct 2, 2015 8:00pm
University Park United Methodist Church
4024 Caruth Boulevard, Dallas, TX 75225
click for tickets

With the rare beauty of her tone and her enchanting presence on stage, Irina Kulikova catches the hearts of audiences across the globe. She belongs to that class of musicians that tell something so special with their instrument, that the public feels the joy, the pain, the longing of the human spirit in a most intense way. Her secret, in life as in music: It’s about the touch. ‘If you take special care of everything and everybody that is dear to you, if you show love and devotion in those little details that make a difference, then you will touch the lives of others in ways you cannot imagine.’

Irina Kulikova tours far afield, with appearances at leading festivals in Europe, North America and Asia and in concert halls such as the Amsterdam Concertgebouw, the Tchaikovsky Hall in Moscow, the Academic Capella in St. Petersburg, Schloss Mirabell in Salzburg, the Palau de la Musica in Valencia, the Musashino Hall in Tokyo and the Oriental Arts Center in Shanghai. She received over 30 awards for her artistry, including 1st prizes at the highly prestigious competitions of Michele Pittaluga in Italy, Guitarra Alhambra in Spain, Forum Gitarre Wien in Austria and Iserlohn in Germany.

Irina Kulikova graduated with distinction at the Mozarteum University in Salzburg (Austria), the Conservatoire of Maastricht (The Netherlands) and the Gnessins Academy in Moscow (Russia). She recorded four solo CD’s, three of which are distributed worldwide by the Naxos label. Today, Irina Kulikova resides in Los Angeles (USA), Salzburg (Austria) and The Hague (The Netherlands). Her concert career as a solist and with a variety of ensembles and orchestra’s, she combines with a personal dedication to teaching, touching the lives of promising students of all continents.



Vals No 4, op.8 Agustin Barrios Mangore ( 1885-1944)  

Fantasia op 30 Fernando Sor ( 1778-1839)   

Toccata en el estilo de Corelli  Santiago de Murcia (1673-1739) 


California Suite  Jose Maria Callardo de Rey ( b.1961) 


***** Pause ****** 

Three Lyric Pieces Konstantin Vassiliev ( b.1970)   

Elegie in memoriam S.Rachmaninov
Reminiscence in memoriam A.Barrios
Mogiana in memoriam H.Villa-Lobos 

Swan Princess (dedicated to Irina Kulikova ) Konstantin Vassiliev ( b.1970)  

Old Lime Tree Sergei Rudnev (b.1955)  

Ballade for Beautiful Elene Victor Kozlov (b. 1958)  

Brasil Duo

Brasil DuoBrasil Duo

Fort Worth:
Thu, Apr 16 2015, 7:30pm
Renzo Piano Pavilion
Buy Tickets

Fri, Apr 17 2015, 8:00pm
University Park United Methodist Church
Buy Tickets

Brasil Guitar Duo, winner of the 2006 Concert Artists Guild International Competition, and hailed by Classical Guitar magazine for its “maturity of musicianship and technical virtuosity,” is equally at home on a classical or a world-music series. Its innovative programming features a seamless blend of traditional and Brazilian works, resulting in a global touring schedule and a growing catalogue of critically acclaimed recordings.

An eager advocate for both traditional and new concerti for two guitars and orchestra, the Duo premiered a Concerto for Two Guitars and Orchestra by Brazilian composer Paulo Bellinati in 2012 with the São Paulo Symphony Orchestra under Giancarlo Guerrero. Recent engagements include concerts with the Dallas and Houston symphony orchestras, Ohio’s Dayton Philharmonic and Lancaster Symphony Orchestra, and the Philharmonic Orchestra of the Americas.

Brasil Guitar Duo strives to expand the repertoire for two guitars, with Lora contributing works of his own and Luiz arranging both classical and Brazilian music. The Duo performs a broad repertoire of classical guitar duos (Bach, Sor, Scarlatti, Debussy, etc.) combined with the traditional music of its native land (choro, samba, maxixe, and baião).

The Duo’s first CD, in 2007, was Bom Partido, a CAG Records release featuring all Brazilian repertoire. Two critically acclaimed Naxos CDs, released in 2008 and 2009, contain the complete works for two guitars by Mario Castelnuovo-Tedesco. Its latest CD, on the Avie label, is a collaboration with flutist Marina Piccinini that features all of J.S. Bach’s sonatas for flute and harpsichord, as arranged by the Duo for flute and two guitars.

Duo members João Luiz and Douglas Lora met in São Paulo as teenage guitar students and have been performing together for more than fifteen years. The Duo’s primary studies were with Henrique Pinto along with Fabio Zanon, Paulo Martelli, Sergio Abreu, and Alice Artz. Douglas Lora earned his Master’s degree at the University of Miami, and João Luiz at New York’s Mannes College the New School for Music. Luiz is head of the guitar department at the State University of New York-Purchase, and also teaches guitar at New Jersey City University.



Brasil Guitar Duo — Program and Program Notes — 2014-2015 Season

Jean Philip Rameau, Pieces de Clavecin*
L’ Egyptienne
Les Cyclops

David Leisner, Ghosting**

Leo Brouwer, Sonata de Los Viajeros


Leo Brouwer, Triptico

Egberto Gismonti, Selected Pieces*
A Fala da Paixao
Don Quixote
Agua & Vinho
Strawa no Sertao

*arranged by Joao Luiz
** dedicated to the Brasil Guitar Duo




– Pièces de Clavecin

Among the most important composers and music theorists of the Baroque era, Jean-Philippe Rameau was one of the 18th century’s greatest masters of harpsichord (clavecin) writing in the French School. His modern and sophisticated style took the harpsichord to a new level of prominence by giving that instrument equal attention with others in chamber compositions (the trio sonatas, for example) and developing keyboard technique through virtuosic solo works.

These selections, arranged for two guitars by João Luiz, reflect the composer’s deep musical knowledge. The arrangements bring a new perspective to the compositions by exposing the music’s complexity as two independent instruments are played as one.



– Ghosting

Ghosting was commissioned for Brasil Guitar Duo by Symphony Space—a multi-disciplinary performing arts center located on the Upper West Side of Manhattan in New York City—through the Isaiah Sheffer Fund for New Initiatives.  Its compositional seed was sprouted with some spare musical ideas and a little haiku-like poem of my devising:

the air holds us
presence into
absence, ghosting

The work begins and ends with freely floating harmonics, as if tossed about by a capricious wind.  A simple tune in subtly shifting meters becomes the ground for variations that begin quietly and become increasingly lively.  This leads to a brief but spacious chordal passage that evokes a distant carillon, followed by a fragmented version of the original tune. Then comes a little chorale leading to a return of the opening material, now a bit more spectral.

— David Leisner, New York, 2014 


LEO BROUWER (b. 1939)

– Sonata de los Viajeros/Triptico

Cuban composer and guitarist Leo Brouwer is acknowledged as one of the most important contributors to the modern classical guitar repertoire. His compositions range from solo guitar pieces to symphonic works and allow him to develop a unique voice through various styles. His prolific output as a composer embraces different aesthetics, from avant-garde experimentalism to neo-romantic simplicity. In all of Brouwer’s works there are clear references to the traditional dance rhythms and folks songs of Cuba.

The Triptico, originally written for guitar and string quartet in 1958, is performed here in the composer’s own adaptation for two guitars. Brasil Guitar Duo recorded the four-movement Sonata de los Viajeros (Sonata of Travelers) for the first time in Toronto in June 2014, and is presenting its concert premiere in Fall 2014.



– Selected Pieces

Brazil’s Egberto Gismonti is considered an important composer of our time as well as a renowned virtuoso on piano and ten-stringed guitar. His compositions capture the essential Brazilian spirit by connecting academic and popular aesthetics with brilliant, powerful melodies. Various Brazilian rhythms, including those of that country’s native cultures and the Frevo, Baiao, Maracatu, Maxixe, and Samba, are a constant element in his work.

This collection of pieces, reflecting a vast range of Brazilian music, was arranged for two guitars by João Luiz under the composer’s supervision.

Dallas Area Open Play
4pm - 6pm, 2nd Sunday
of each month


3725 Belt Line Rd
Addison TX 75001

Come play or just listen.
All levels welcome.

Community Guitar Orchestra

The next session of the guitar orchestra meets 2-4pm every Sunday in room D-208 at Brookhaven.

For more info students can call 972-860-4600

See program

Brookhaven College and the Allegro Guitar Society invite nylon string/classical guitarists and steel-string acoustic guitarists with at least one year of playing experience to participate in this community guitar orchestra. Classical, finger-style and plectrum guitarists are ALL welcome!

Allegro Café Concerts
at The Kimbell

Please come and enjoy a a glass of wine, coffee, tea and Beautiful Classical Guitar Music at the Renzo Piano Pavilion most 1st, 3rd, and 5th Fridays from 5PM to 7PM. 

Click here for map  
Please check back for additional venues