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
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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.) 


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 www.jasonvieaux.com; Jason is tweeting @JasonVieaux, and his Facebook fan page is www.facebook.com/jasonvieaux.

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