Two MIAMI GUITAR FESTIVALS: Tue Trib INTERNATIONAL GUITAR ASSEMBLAGE AND COMPETITION Tre MtaMt INTERNATIONAL GUITAR FESTIVAL 40 welitplanned and memorable guitar festivals were held in Miami in June, 2007; they were scheduled so thaconlya few days separated the ewo—a situation with both dvantages and disadvantages. The asthe Third International Guitar Assemblage and Comperition, held June 13-16, under the artistic direction of Car- first of these festiv los Molina, and sponsored by the Miami Classical Guitar Society in collaboration with the Centro cut. tural espaviol. The festival included al Miam Sociecy invern the a assical Guitar ional competi tion, which was founded in 2004, Molina has plenty of experience at such festivals; ewice he has presided over the Guitar Foundation of America annual ar will be che Miami festival, and next y Classical Guiear Societys twentieth anni- versary season presenting guitar concerts The feasured performers at this year's Assembla we svete Diego Barber (Spain) n June 13; Mautizio di Fulvio (Italy) and Enric Mad- rigueta (US.A.) on June 14; David Mar tinez (Spain) and Cristiano Porquedd (Italy) on June 15; and Ricardo Gallén and Irina Kulikova (Russia) (Spain) and the competition finals on June 16, Some last-minute problems wich, Soundboard proofs prevented me from sending the first ewo days, and so I cannor commenton the first concertsexcept to say everyone was still ealking abous the outstanding performance of Ms, Kulikova, Idrove down from Tampaon June 15, gor scuck in eush-hour erafic on the Palmetto Expresoway, and arrived justin time for (1) the afternoon topical deluge, and (2) 92 UNDBOARD, Vol, XXXII, No. 3-4Opposite page, top: Colin Davin; second row: Mar Stor (left) sind Pedro Gonzalez (photos by Margie Willensky)s at Miarui Beach: Marisa Molina, Gracia Riu Ric Madrigeras below: Cristiano Porguueddu, Carlos Molina, Cristiano Porquedlda, and Roberto Fabbri, aid Advisie Rius: This page, from top: Ignacio dre nanslatesfor Adrian Rits; David Martinez with Gras Bins and Cristiano Porquedd (photos by R. Long): Ricardo Gallen SOUNDBOARD, Vol. NNNIL, No. 3-4 evening concert shared by Porqueddu and Martinez. { got soaked beeween the parking lot and the building, and didn’t stop dripping until the final encore, Ah, summer in Florida! o bur sen stiano Forqueddu, a native of Sardinia, isa powerful asitive guitarist, He opened his concert with six of Angelo Gilardino’ Stud di virtuosita e di rascendenza—a magnificent cycle of guitar music which he isalso recording initsentirery, He also played Barrios’ Mazurka apasionataand Vals No, 3, and Castelnuovo-Tedesco's Capriccio diabolico, At the intermission, Al Kunze announced the competition final ists—Colin Davin, Pedro Mateo Gonzalez, and Marco Sartor. David Martinez, from Granads, followed Porqueddu’s power with his own grace and poetry —a set of Scarlatti sonatas and another set of Sanz dances performed on a borrowed Torres copy guitar. He also played Barrios (Una Limasna) and ended witha touching Lderima, explaining that Tarrega wrote i for his daughter, whohad died while he was touring, [have always thought this co be one of the most musically difheule so-called “easy” pieces in the guitar repertory The guitar that Martinez played had been brought to Miamiby Adrién Rius, che Spanish guitarist and scholar who has written the best book on Tirrega to date, Francisco Tir vega 1852-2002: Biografia oficial, the official biography for she sesquicentennial of hisbireh, Rius presented two lectures on Tarrega in Miami and treated us to a recently-discovered recording of the maestro himself (barely audible through the noise) playing a spirited Mariza. Rius spokein Spanish, with Ignacio Ares translating, and also played (beautifully) Taerega wanscriptions of Albéniz, Granados, and Malats, as well as Maria: Gavota, all on bis lovely Tactes copy. In the competition, later that day, Marco Sartor (Uru- Sonata I]l and Aguado’ Rondo No, 2 guay) played Ponce’ (onacedar Ruck); Pedro Mateo Gonzalez played Scarlactiand the Brouwe ‘olin Davin Sonata (ow a spruce Marin); and played Merez’ Himgarian Fantasy and Castelnuovo Tedesca's Sonata “Ommagio a Boccherini” (on a spruce Monrad). All shree played impressively; Sarcor was flawless, Gonzilez was elegant, and Davin was passionately virtuosic. ‘The audience pitied the judges for having to pick a winner fromamong the three great performances, and the voting was (reportedly) extremely close in awarding first prize to Davin, second to Gonzales, and third to cor ‘That eve ing, Ricardo Gallén played a stunning concert: Tres piezas by Emilio Pujol, Ponce’s Sonata III, Walton's Bagatelles, Legnani’s Fantasia, Op. 19, Rodrigo’ Tres piezas espartolas, and the Antonio José Sonata, His first encore was Couperin’s Barricades mystérieuses, and his second encore 93Front left to right: Vlasislav Bliba, Mir Ali, René Gon: was an amazing solo version of Falla’s Danza espariola No. 1 from La vida breve The Centro culxural expaitol, which hosted the events, including the concerts, was within walking distance of a pleasane and reasonably priced hotel, and less than a block from SW, Sth Street, Miami’ legendary Culle Ocho, and great restaurants such as the popular Versailles. Molina had planned everything so there was ample time to eat, and he even provided a rour of Miami Beach and other local sites. “The artistic level of the concerts and of the competition were impossible to beat Several days later, I returned to C ional Guitar Festival atthe Frost Schoo! of direcrion ables to attend the ‘Miami Incernat Musicat che University of Miami, under the arti of Reng Gonzalez and Rafael Padrén, The scheduled concerts included still another all-star international line-up: René and Rafaand friends on June 19, Rail Olmos and Vladislav Bliha on June 20, Mir Ali and Boris G Fabbri and Berta Rojas on June 22, and Leonardo Lozano \quére on June 21, Robesto and Michael Chapdelaine on June 23, There were also master classes, showease concerts, and a lecture on “French History and the Classical Guiear“(by myself), The faciliics at the University of Miami were first-class; thelobby of the Clarke Recital Fialllooks outoverasmall lake wich a large fountain illuminaced dramatically ac night, and he containing several crocodiles (yes, [said erocodiles—nor al 96 Raul Olmos, Roberto Fabbri, Rafuel Padrén, Boris Gaguére ligacors). Participants could stay in che university dormicories, which were reasonably priced, orat several nearby hotels along South Dix including good studenccafeccria, and the campus Starbucks Highway. There were plenty of places 0 eat, got a lor of business, roo. The openingconcerc Rucared René Gonzalezin duo with fiurist Robert David Billingron. ‘The program was fresh and original: Rodrigo’ dria crtiquat, a Catulli Serenade, Gardens of the Villa Taranto by Auscralian composer Colin Brumby, Haruno Umiby Mi arsten Brustad’s If) Their encore was a € tio Miyagi, and the Norwegian composer fight’: Dawn Impased All (LN.D.LA.). bro by Celso Machado. { appreciated the freshness of this programming; the guitar's chamber repertoire has been expanding faster than guitarists have kept up, and the Billingron/Gonzilez duo are doing their part to remedy the situation by finding new, audience-friendly pieces thar deserve to be better known, The second halfof the concert featured Rafael Paced playing solos (Barrios’ Chiro de Saudade and a tousing Carnival of Venice by Tires ke Bolling’s Concerto fi jven't heard that one in a few years!) ably mpo, with Pablo Gareja on an ensemble: ssival Guttar and Jazz Piano joined by his wife, pianise Aise C bass and Fernando Campo on drums. ‘The June 20 concert paiced Mexican guitarist Rati! OF mos with Czech virewoso Vladislav Bliha, Olmos, an elegant, restrained, musical playes, med Mertz" Gondalter, a From lefi ro vight: René Gonzalez, Roberto Fabbri, Berta Rojas, Manuel Garcia, Boris Gaguére, Rfiel Padrin, and Fedevico Musgrove SOUNDBOARD, Vol. XNXIII. No. 3-4Clockwise Leona Melodie Dickerson, do Figueroa Rojas: Federico Masgr 1 Campo aid Rafiel Padvon: and René Gonz ajuda Diaz, 1ges Michael Chapdelaine gives Ryo} Vamagubi ardesion while Harvey Willen oats; wricia Adriana OUNDBOARD, Vol. XXXII, NoLauro Vals venezolano, the popular Cardoso Milongs, and Dyens’ flashy Tango en shai, incerspersed with works by Mexican composer Gerardo Tamez. The highlights of Blihas performance were the Usher Waltz of Nikita Koshkin, three movements from John Duarte’s Movuviana, and Stepan Rak’s lovely Blegy and flashy Hora, which begins wich an extended lefé-hand cadenza. He also played three original arrangements of Falla pieces; his encore was Koshkin’ raggy Parade. The Pakistani-born Mir Ali isan innovative and eclectic guicarise who is adept at classical, acoustic, jazz, and even + influences Flamenco styles, and who weaves these and ot into his original compositions and arrangements. His opening or amplified tuwri,a northern Indian raga in a version which, the progeam sitarand tape, was the hypnotic Rag Kir notes say, was recorded by Doc and Merle Watson (!) Healso played a number of is own works, clearly Flamenco-inspired, 's by Manolo Sanlucarand his own teacher Richard, and pie, Pick. ‘There was a beautiful medley of Barrios interwoven with José Luis Merlin’s haunting Evocacidn, and his encore was Lennon and McCartney's Yesterday, second half of the concert, B ian guitarist Boris Gaquére played more traditional repertoire: Weiss’ Suite SOUNDBOARD, Vol. XXIII, No. 3-4 ‘Infidéle,” Dusan Bogdanovie’s Jazz Sonata, and (he studied with the Assads) a flashy medley of Brazilian or Brazilian-inspired pieces by himself, Baden Powell, and Paulo Bellinati. His encore was the Dyens arrangement of Jobimm’s Felicidade On Friday, June 22, the Italian guitarist and composer Roberto Fabbri played the opening concert, Fabbri is ovea- sionall 4 bit rough and sometimes has a naily sound, but he is famboyanc and technically astonishing—a definite crowd pleaser. His own compositions range from unabashedly pretty to exuberant barn-burners, often with a pop sensibility, wich ticles that evoke places like South Beach and Arocha, One of them, a sort of Gypsy Jubilation. Inverspersed with his own works lotte in Belgrado, reminded mea lied of Andrew York, were Giuliani’ Resiniana No. 6, Op. 124, Brouwer’s Undliade noviembre, and Dyen's Fuoco. His encore was Tango en skat. The Paraguayan guitarist Berta Rojas’ approach to gui tar-playing is completely different from Fabbri’s. She is con- trolled, elegant, and profoundly expressive, She opened with a gorgeous tremolo piece, Barrios’ Ultimo canto, followed by aytul Balada del deli, Byeoung Woo Lee’s Mother was so emotion her own arrangement of Ledesma ly incense it 99earned sponrane us applause from the audience, and the same composer's Rin was an excitinglet-hand workout, Rojasalso played a magnificent version of Piazzolla’ huvierno portezo (Sergio Assad!s arrangement), and concluded with Sinesi’s Cielo abierto, Fler encores were both by Barrios: La Cateditl and Dana pareguaya. Unforcunacel y; I had to leave early the next mozning to perform that evening back in Tampa, and so I missed the party at René’s house ai wezuclan he closing concert by Ve uatro virtuoso Leonardo Lozano and the always-entertaining Michael Chapdelaine. I lee wich some greae new memories, such as the pose midnight supper at che Versailles restattrant, with Manuel Garcia playing and singing Latin-American songs, joined by Rati, Berta, Boris, the waitstaff, and all che remaining customers For many years, the month of June meant one thing to Florida classical guitarists: che Stetson International Guitar ‘Workshop in DeLand (beeween Orlando and Daytona). Since the demise of that beloved event, there has been a void here that needed to be filled, and these two festivals are both wor- thy efforts to do just chac. Both drew on an impressive array of international talent and featured master classes as well as concerts, The first event, with its high-level competition, was more like a traditional festival, while the University of Miami cival, with its emphasis on youth and teaching, was more like the traditional summer workshop with concerts. Miami, although not centrally located in the state (or the nzciont), remains one of America’ most fascinating and cosmopolitan cities, a grear destination for any conference, Except for the occasional tropical downpour, the June weather was excellent, too; the chicken-soup heat of the Florida summer had not yet descended upon us. Taken together, these two festivals consticuced the most significant guitar event in 2007 in the southeastern United States. Local guitar fans could pickand choose from many fine concerts and events, but someone from out-of town=allowing for tay: el time—would need to commit the better part of tion co attend both festivals, and this probably hurt at tendance atboth.1 spoke with several local people who too \were erying to work in the daytime and attend concertsin the evenings, and they, t00, had to make difficule choices. Both fescivals guitar artistry: If they could somehow be merg were well-run and artistic successes, veritable feasts of Jor at least coordinate schedules, they have the potential co grow into one of the premiere guitar events in the US,,and maybe the world Richard M. Long Frome the top: Ryoji Yamaguchi and Aisa Campos René Gonsailes, Raul Olmos, Rafael Padrén, and Mir Alt Vladislav Bliha, Mir Ab, Raul Olnos, Roberto Fabbri, and Boris Gaguér SOUNDBOARD, Vol. XXNIII, No. 3-4