“Will you sing, too?”

Barely any classical instrument is so bounded by misunderstandings as the classical guitar, even while great guitarists are performing in the major concert halls around the world today. Yet, modern-built classical guitars are designed for the stage and at the latest, Andrés Segovia established the classical guitar as a solo instrument also for big stages and concert halls.
First-rate composers as Manuel de Falla wrote pieces for the classical guitar. Easily-adaptable pieces for it’s predecessors as the lute were written even by J. S. Bach and his contemporaries. Due to the enormous possibilities the classical guitar provides, even pieces composed for other instruments can benefit from being played on the classical guitar.
A guitar can also blend in or stand out in an ensemble or even an orchestra: Numerous guitar concerts were written long before it was possible to electrically amlify the guitar.

Classical guitar concerts 1
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Characteristic features of the classical guitar

Indeed, the classical guitar offers the guitarist musical possibilities which are unique in the large world of musical instruments: No other instrument on which you can play 6 voices (notes) simultaneously bears that many scopes for musical shaping as glissandi, vibrato, timbres etc. Solo instruments as the piano lay their focus mainly on being able to play as many tones simultaneously as possible. Orchestra instruments, in contrast, lay their entire focus on the shapeability of the sound. The guitar combines the best from both worlds and thereby opens up a whole new world of sound.
To utilize this creatively and to convey this fascination to the audience is the responsibility of a good guitar player and musician. Unfortunately, this isn’t a given – too many guitarists are content with the beauty of the common sound of the guitar or the composition. In contrast, through my repertoire, I try to exhaust the possibilities of the classical guitar in every concert program and even within every single piece.

Current concert program

The program “Kontraste” (“contrasts”) whith an approximate duration of 65 minutes basically consists of three pieces which couldn’t be more different: 1. Fernando Sor: Mes Ennuis Op.43 ; 2. Peteris Vasks: Vientulibas Sonata (Sonata of loneliness) ; 3. Manuel Maria Ponce: Variations sur “La Folia de Espana” et fugue. If requested, the program can be extended or changed.
From a previous program: „In “Mes Ennuis”, Fernando Sor describes the troubles (“Ennuis”) he had with his fellow composers with sometimes deep emotions, while however shaping them into a frame of pleasant sounds, which widely appear to be joyful and almost actually untroubled. This comes to an aprupt end with Peteris Vask’s “Sonata of loneliness”: In my interpretation, this piece describes the process of coming to terms with the sudden death or the message of the certainly impending death of a beloved person – reaching from mere disbelief to dull anger and finally an almost peaceful valediction. Lastly, M. M. Ponce shows to us through a grand varation cycle, how many nuances there are between these extreme moods – in music as well as in it’s model: our daily life.”

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