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British InvasionBoston GuitarFest VIII

Dear Friends,

It is with great pride that the Boston GuitarFest family and I welcome you to a “British Invasion” aka BOSTON GUITARFEST 2013, June 19th to 23rd, part VIII of our ongoing exploration of the past, present, and future of our noble instrument, its repertoire, and the greater cultural legacy that nourishes it.

This year we celebrate the birthday years of three great Albion musicians: John Dowland, “whose touch upon the lute doth ravish human sense” (Shakespeare); Benjamin Britten,

composer of the iconic work “Nocturnal after John Dowland, Op. 70”; and the exalted guitarist and lutenist Julian Bream, who will turn 80 a few days after our festival ends and to whom we dedicate Boston GuitarFest VIII.

I am thrilled to welcome back Oscar Ghiglia, Elena Papandreou, Richard Savino, Joaquín Clerch, harpsichordist John Gibbons, and pianist Moisès Fernández Via. This year, for the first time, tenor Nicholas Phan, soprano Nuria Orbea, and the eminent lutenist Nigel North will join us for Boston GuitarFest as well. This stellar cast will be joined by a whole orchestra of wonderful young artists, who will give us an unforgettable Emerging Artists Concert (punctuated by theatrical Shakespeare scenes) curated by Zaira Meneses on June 22.

Once again Devin Ulibarri directs our annual competition for performance, whose jury will be presided over by the eminent Bruce Holzman. William Riley and Adam Levin join Zaira Meneses in our Young Guitarists Workshop, and Robert Bekkers directs our Luthiers Exposition, also back by popular demand.

We are profoundly grateful to the administrations of two great Boston institutions, my own New England Conservatory (led by British-born president, Tony Woodcock) and Northeastern University, where music department chair Anthony De Ritis has been an indefatigable and loyal supporter of GuitarFest almost since its inception.

Clearly a festival so conceived can only continue thanks to the tireless devotion of a magnificent staff of selfless volunteers, this year brilliantly directed by Robert Hanson and backed up by a group of generous and loyal sponsors and donors.

I look forward to seeing you as we celebrate our own “British Invasion” this week, here in America’s birthplace. As Shakespeare writes at the opening of Twelfth Night, “If music be the food of love, play on!”

Eliot FiskFounder and Artistic Director Boston GuitarFest New England Conservatory

Anthony Paul De Ritis Chair, Department of MusicNortheastern University

Richard Feit Dean, Performance StudiesNew England Conservatory

3

Dedicated to Julian Bream on the

occasion of his 80th birthday

From a letter from Julian Bream to Eliot Fisk

Welcome from the State Offices

I welcome Boston GuitarFest as it continues to showcase the cultural

advantages of the city of Boston, and to provide us all with the opportunity to

hear wonderful music, played at its best.

– Barney Frank (D-MA) Massachusetts Representative

Boston GuitarFest is a perfect example of music’s ability to traverse

geographic, cultural, and ethnic boundaries, and as a confirmed amateur

guitarist I know it will also be a lot of fun. I encourage musicians and everyone

who appreciates their work to become involved in this important cultural

celebration, and I thank NEC and Eliot for making Boston GuitarFest a reality.

– John Kerry (D-MA) US Secretary of State

GuitarFest has become a wonderful summer tradition in Boston. Audiences

come to learn more about different cultural traditions and to enjoy the

extraordinary musical performances.

– Edward M. Kennedy (D-MA)

Late US Senator from Massachusetts

GuitarFest is a great celebration of music and culture, and there’s no better

place for this festival than along Boston’s Avenue of the Arts. This weekend

is a terrific opportunity for people to come together, enjoy wonderful

performances, and share their love of music.

– Elizabeth Warren (D-MA) US Senator from Massachusetts

Music brings people together, and I am so proud we hold this festival here in

the Bay State.

– Deval L. Patrick (D-MA) Governor of Massachusetts

This festival is an opportunity to experience a diverse showcase of musical

talent, including the work of many gifted guitarists. I welcome performers

and festival attendees to Boston and hope you enjoy your visit.

– Michael E. Capuano (D-MA) US Congressman from Massachusetts

www.bostonguitarfest.org Program and Website Design: Maureen Ton, Northeastern University

Index

ScheduleCompetitionsMaster ClassesOther ActivitiesConcertsMusicians and ProfilesSupport UsDonorsThanksHiksdal FundAbout UsMapHonoring Bob Sullivan

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9am–5pm LUTHIERS EXPOSt. Botolph, room 113

9am–1pm PERFORMANCE COMPETITIONPreliminary Round(Closed to the Public)Williams Hall, NEC

10am–1pm MASTER CLASSOscar GhigliaKeller Room, NEC

2–4pmMUSEUM OF FINE ARTSImmerse yourself in British art, as well as art and artifacts from Revolutionary America. Registration at check-in.Meet at Jordan Hall steps, 2pm

3–7pm YOUNG GUITARISTS WORKSHOPSt. Botolph, 3rd Floor, NEC

5pm TEA PARTY Party like the English do with a light, refreshing afternoon reception including tea and hors d’oeuvres. Fenway Center, NU

7:30pm CONCERTIf Music and Sweet Poetry AgreeBoston Guitar Orchestra;Moisès Fernández Via (piano);Nuria Orbea (soprano); andNigel North (lute)Jordan Hall, NEC

9am–5pm LUTHIERS EXPO St. Botolph, room 113

9am–1pm PERFORMANCE COMPETITIONSemifinal Round (Free and open to the public)Jordan Hall, NEC

9am–1pm YOUNG GUITARISTS WORKSHOPYouth workshops continueSt. Botolph, 3rd Floor, NEC

10am–1pm MASTER CLASSOscar GhigliaKeller Room, NEC

3pm–6pm CONCERTEmerging Artists MarathonJordan Hall, NEC

8pm CONCERTMusic at the CloseEliot Fisk and Oscar Ghiglia with Nuria Orbea (soprano) and Nicholas Phan (tenor)Jordan Hall, NEC

9am–5pm LUTHIERS EXPO St. Botolph, room 113

9am–1pm YOUNG GUITARISTS WORKSHOPFinal sessionSt. Botolph, 3rd Floor, NEC

10am–1pm MASTER CLASSOscar GhigliaKeller Room, NEC

2–3:30pm ROUNDTABLEThe Role of the Guitar in Contemporary Society: Perspectives for the FutureModerated by Stefano Kotsonis of NPR, with a distinguished panel and Q&AKeller Room, NEC

4pm CONCERT Performance CompetitionFinal Round (Free and open to the public)Jordan Hall, NEC

6:30–7pm CLOSING RECEPTIONFestival participants are invited for the announcement of the competition results, great food and drinks, and Dowland Madrigal quartet performances by Tami Papagiannopoulos (soprano), Elise Groves (soprano), Eduardo Antonio Ramos Suárez (tenor), and Will Prapestis (baritone).Keller Room, NEC

Saturday, June 22 Sunday, June 23Thursday, June 20Wednesday, June 19

12–3pm ARRIVAL AND REGISTRATIONSt. Botolph Lobby, NEC

5–6:30pmOPENING RECEPTIONFestival participants will have the opportunity to meet each other as well as Artistic Director Eliot Fisk and guest artists, while enjoying food and refreshments. Pierce Hall, NEC

8pmCONCERT Opening NightEliot Fisk presents Lifetime Achievement Award to Robert Paul Sullivan

Premier of GuitarFest 2012 composition winner, “Catarsis,” by Saúl Chapela,Stefan Koim (guitar); Boston GuitarFest 2012 competition winner Chad Ibison (guitar);John Gibbons (harpsichord) joined by Eliot Fisk (guitar)Fenway Center, NU

9am–1pm PERFORMANCE COMPETITIONPreliminary Round begins(Closed to the Public)Williams Hall, NEC

10am–1pm MASTER CLASSOscar GhigliaKeller Room, NEC

5pm CONCERTRedcoat Reversal: New MusicMaarten Stragier (guitar);Callithumpian Consort (SICPP)Fenway Center, NU

8pm CONCERTRomance, Old and NewRichard Savino & El Mundo (chamber group);Joaquín Clerch (guitar) joined by Eliot Fisk (guitar)Fenway Center, NU

Friday, June 21

ScheduleSubject to change

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InstructorsAdam Levin, William Riley, Zaira Meneses

YGW offers group instruction with individual attention, specialized technical exercises, and this year even drama coaching to increase confidence on stage. Young guitarists enjoy the NEC experience firsthand and get a taste of how much fun music making can be!

Schedule

Museum of Fine Arts OutingFriday June 21, 2–4:30pmMuseum of Fine Arts (Meet at Jordan Hall steps)465 Huntington Ave, Boston

An appreciation of visual art is can be a wonderful complement to the informed interpretation of classical music. Boston’s Museum of Fine Arts, located just up the Avenue of the Arts from NEC, offers everything from ancient Egyptian artifacts to the newly installed “Art of the Americas Wing.” A tour of the MFA has long been an integral part of the multi-disciplinary approach that sets Boston GuitarFest apart from other festivals. Participants are invited to immerse themselves in the art that influenced those who brought us the music of the “British Invasion,” from Elizabethan times onward. Special attractions include an exhibit of Mario Testino’s British Royal Portraits, older masterpieces from the times of kings, queens, and courtiers, and the MFA’s famous collection of early musical instruments.Tour leader, Devin Ulibarri: (505) 379-6253

Tea PartyFriday June 21, 5pmFenway Center, NU

Party like the English do with a light, refreshing afternoon reception including tea and hors d’oeuvres. The fun will include an open mic for performances and a raffle for CDs, strings, and GuitarFest memorabilia.

RoundtableSunday June 23, 2–3:30pmKeller Room, NEC

The Role of the Guitar in Contemporary Society: Perspectives for the FutureWBUR yeoman Stefano Kotsonis moderates a lively roundtable discussion. The panel will address subjects such as economic viability and the challenges of expanding the audience for the classical guitar. Audience participation welcomed and encouraged.

Master Classes

Oscar Ghiglia Master ClassJune 20–23, 10am–1pm Keller Room, NEC

Once again Boston GuitarFest is honored to present the master classes of guitar guru Oscar Ghiglia. Maestro Ghiglia’s artistry has always proceeded from the vocal nature of music, his rigorous discipline, and attention to detail inspired by a Toscanini-like obsession with the score as a point of departure and return. The poetic and imaginative teaching of Oscar Ghiglia has formed several generations of guitarists both great and small. His contribution to the development of the instrument remains a profound source of never-ending wisdom and inspiration for his innumerable disciples and admirers all around the world.

Other Activities

JudgesBruce Holzman, Joaquín Clerch, Nuria Orbea, Elena Papandreou, Moisès Fernández Via

Preliminary round (Closed to the public)10 min. max. Contestant must perform one work by an English composer and/or with an English theme.June 20 and 21: 9am–1pm Williams Hall

Semifinal round (Open to the public)15 min. max. Free choice but not including required piece. A different piece by an English composer or English theme may be performed. June 22: 9am–1pm Jordan Hall

Final round (Free concert, open to the public)25 min. max. Contestant must perform one work by an English composer and/or with an English theme. This work may be the same or different as in the preliminary round.June 23: 4pm Jordan Hall

Individual movements from major works are acceptable. No concertos or chamber music will be permitted. All pieces must be performed from memory on a nylon-string, classical guitar. The judges’ decisions are final.

1st prize: $5000, GuitarFest 2014 concert2nd prize: $25003rd prize: $1000

Complete rules at www.bostonguitarfest.org

Youth Guitarists Workshop June 21–23, 2013

Performance CompetitionJune 20–23, 2013

Judges: Anthony De Ritis, Apostolos Paraskevas, Alexander Dunn, Enric Madriguera

Boston GuitarFest 2013 Composition Competition judges will be selecting a work for solo guitar, composed for the six-stringed classical guitar.

Composition CompetitionWorks will be reviewed by judges during the festival.

No published or previously awarded compositions should be submitted. The winner will be announced at the Closing Reception. A prize of $400, performance of the work at GuitarFest 2014, and a 5-day registration for GuitarFest 2014 will be awarded.

FRIDAY JUNE 21RegistrationWarm-up/TechniqueEnsembleShakespeare WorkshopMaster ClassPick Up

SATURDAY JUNE 22Warm-up/EnsembleEnsembleShakespeare WorkshopLunchMaster ClassMusic AppreciationPick Up

SUNDAY JUNE 23Shakespeare WorkshopMusic AppreciationEnsemble Dress-RehearsalSnackStudent Recital

3pm3:30pm

4pm5:30pm6:30pm

7pm

9am9:30am

11am12pm

12:30pm1:30pm2:30pm

9am10am11am

12:30pm1pm

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Concert 1Wednesday, June 19

Opening Night8pm Fenway Center

Boston GuitarFest VIII, British Invasion, opens with the immortal words of William Shakespeare. Shakespeare, in excerpts rendered by actors directed by BostonConservatory’s Liz Hayes, provides a continuous thread throughout the festival, underscoring the cross-disciplinary approach of Boston GuitarFest since its inception in 2006. The scene “If music be the food of love, play on!” from Twelfth Night is presented by actor Alex Simoes.

Stefan Koim opens the musical part of Boston GuitarFest VIII with the premiere of “Catarsis” by Saúl Chapela, winner of the 2012 Boston GuitarFest composition competition.

Then Chad Ibison, first-prize winner of the Boston GuitarFest 2012 competition for interpretation, continues with Mauro Giuliani’s variations on the Austrian folk-song, “I’m A Boy from the Cabbage Farm.” The 18th of Mario Castelnuovo-Tedesco’s 24 Caprichos de Goya is based on no. 43 from the famous series of etchings by Francisco Goya (1746–1828), inspired by the horrors of the Napoleonic Wars in Spain. “Fantasy abandoned by reason produces impossible monsters,” which is in turn evocative of Shakespeare’s A Midsummer Night’s Dream. Julian Bream commissioned Alan Rawsthorne’s Elegy in 1971. In a horrible twist of fate, the composer died before completing the work, and thus, “as it seemed a shame to let such fine music languish,” Bream composed its final portion. Bach’s Sonata in E minor, BWV 1034, for transverse flute and continuo is arranged here by Scottish guitarist David Russell; the two notated parts of the original work remain essentially intact apart from occasional changes in register to accommodate the guitar.

Veteran harpsichord virtuoso John Gibbons will introduce a rich variety of English and Anglo-inspired works, and will be joined by Artistic Director Eliot Fisk in Bach’s Sonata in E major, BWV 1016, originally for violin and cembalo obbligato.

Boston GuitarFest Lifetime Achievement Award presented to Robert Paul Sullivan by Eliot Fisk.

Alex Simoes, actor

William Shakespeare (1564–1616)Scene from Twelfth Night (I.1)(See text on p.13)

Stefan Koim, guitar

Saúl ChapelaCatarsis (2012 Winning Composition)

Chad Ibison, guitar2012 Competition Winner

Mauro Giuliani (1781–1829)Six Variations (1814)Sur la chanson nationale “I bin a Kohlbauern Bub” Op.49

Mario Castelnuovo Tedesco (1895–1968)24 Caprichos de Goya Op.195 No. 18, “El sueño” de la razon produce monstrous (1968)(The Sleep of Reason Produces Monsters)

Alan Rawsthorne (1905–1971)Elegy (1971)

J. S. Bach (1685–1750)Sonata in E minor for flute and continuo, BWV 1034 I. Adagio II. Allegro III. Andante IV. Allegro

INTERMISSION

John Gibbons, harpsichord

Orlando Gibbons (1583–1625)Variations on The Woods So WildThe Queen’s Command

John Bull (1562–1628)The Lord Lumley’s Pavin & The Galliard to it

Henry Purcell (1659–1695)Suite II in G Minor Prelude, Almand, Corant, SarabandGround in C Minor

John Gibbons, harpsichordEliot Fisk, guitar

Johann Sebastian Bach (1685–1750)Sonata in E Major, BWV 1016 (Adagio), (Allegro), Adagio ma non tanto, Allegro

Luthiers Expo

Friday–Sunday 9am–5pmSt. Botolph, room 113

Back by popular demand, Boston GuitarFest’s Luthiers Expo has now expanded to three days, offering participants even more of time to stop by and test drive fine instruments by luthiers from around the world. Don’t miss this chance to learn about the guitar in new and intimate ways, swap insider tips, and gain insight from the artists and craftspeople who give voice to our music.

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Redcoat Reversal: New Music5pm Fenway Center

After a two-century sunset, history seems to have turned the former British Empire inside out. On the geopolitical stage, it now pays deference to one of its former Western colonies, and in the decades to come it might have to bow to another in the east. Indeed, the focus of the old “Brittosphere” has long moved from its center. Given the theme of this year’s GuitarFest, I thought it would be interesting to somehow reflect this eccentricity in a concert program. Hence, it showcases music from Clarence Barlow, an Indian composer who only in his twenties came to appreciate the music of his own home country; from Rand Steiger, who is based in California and the composer in residence for this year’s Summer Institute for Contemporary Performance Practice at NEC (SICPP); and from two British composers, Jonathan Harvey and Rebecca Saunders, whose aesthetic lineage lies mostly outside of British musical tradition.

—M. Stragier

This concert is given in col-laboration with NEC’s Summer Institute for Contemporary Performance Practice (SICPP)

Maarten Stragier and the Callithumpian Consort

Clarence Barlow (b. 1945, India)…Until… version 7 for guitar Bob Ward, guitar

Rand Steiger (b. 1958, USA)A Good Diffused Adrienne Arditti, soprano; Jessi Rosinski, flute; Jeff Means, Nick Tolle, percussion; Maarten Stragier, Alex Dunn, Robert Ward, guitar; Elaine Rombola, harpsichord; Yukiko Takagi, piano; Gabriela Diaz, violin; Ben Schwartz, cello; Stephen Drury, conductor Rebecca Saunders (b. 1967, UK)Vermilion Maarten Stragier, electric guitar; Rane Moore, clarinet; Caleb van der Swaagh, cello Jonathan Harvey (b. 1939, UK)Still Beth McDonald, tuba and electronics

Concert 2Thursday, June 20

Museum Visit

Friday June 21, 2–4:30pmMuseum of Fine Arts (Meet at Jordan Hall steps)465 Huntington Ave, Boston

An appreciation of visual art is can be a wonderful complement to the informed interpretation of classical music. Boston’s Museum of Fine Arts, located just up the Avenue of the Arts from NEC, offers everything from ancient Egyptian artifacts to the newly installed “Art of the Americas Wing.” A tour of the MFA has long been an integral part of the multi-disciplinary approach that sets Boston GuitarFest apart from other festivals. Festival participants are invited to immerse themselves in the art that influenced those who brought us the music of the “British Invasion,” from Elizabethan times onward. Special attractions include an exhibit of Mario Testino’s British Royal Portraits, older masterpieces from the times of kings, queens, and courtiers, and the MFA’s famous collection of early musical instruments. Tour leader, Devin Ulibarri: (505) 379-6253

10 11

The strains of love, requited and unrequited, live on into the court of Queen Elizabeth II with the music of the Beatles, tonight performed by Joachín Clerch and Eliot Fisk in versions for two guitars by Leo Brouwer. The sweetness of Clerch’s interpretation of Granados Valses Poeticos is succeeded by Rodrigo’s “Un tiempo fue Italica famosa,” (Once upon a time Italica was famous), an ode to the fallen Roman city that once flourished outside modern-day Seville. Tonight’s concert concludes with music that is perhaps the very definition of romance, with two tangos by the Argentinean king of tango, Astor Piazzolla.

Joaquín Clerch, guitarEliot Fisk, guitar

John Lennon and Paul McCartney/ Leo BrouwerPenny LaneThe Fool on the HillShe’s Leaving Home

Joaquín Clerch, guitar

Enrique Granados (1867–1916) Ocho valses poeticos (trans. Joaquín Clerch) Vivave molto Melodioso Tempo de Valse noble Tempo de Valse lente Allegro umoristico Allegretto Quasi ad libitum Vivo Presto Joaquín Rodrigo (1901–1999)Un tiempo fue Itálica famosa Astor Piazzolla (1921–1992) Invierno porteño (trans. Sergio Assad) Adios nonino (trans. Cacho Tirao)

Romance, Old and New8pm Fenway Center

The idolization of romantic love provided endless inspiration for the poets, playwrights, and musicians of the court of Queen Elizabeth I. Nowhere is this more powerfully expressed than in Shakespeare’s tragic masterpiece, Romeo and Juliet, set in the Italian city of Verona.

Kingdoms and Viceroys:Spanish and Italian Music from the 17th & 18th CenturiesRichard Savino and the chamber players of El Mundo present jewels of the music Shakespeare’s star-crossed lovers might have heard, performed with historic verve on period instruments.

Alex Simoes, actorLiz Hayes, actor

William Shakespeare (1564–1616)Scene from Romeo & Juliet (I.5)(See text on p.13)

Richard Savino and El MundoRichard Savino, baroque guitar; Salome Sandoval, soprano; Cleland Kinloch Earle, violin; Emily Walhout, viola da gamba

Domenico Pellegrini (fl. 1650)Toccata, Ciaconna & Corrente (guitar solo) Jose Marin (1619–1699)Ojos pues me desdeñáis Anon. c. 1670Folia (violin & guitar)

Antonio de Salazar (c.1650–1715)Tarara yo soy Anton

Santiago de Murcia (1673–1739)Fandango (guitar solo) Rafael Castellanos (c. 1725–1791)Oygan una xacarilla Francesco Corbetta (c.1615–1681)Symphonia Georg Friedrich Händel (1685–1759)Cantata a voce solo con chitarra espagnola Aria, Recitative, Aria

Jose Marin Si quieres dar Marcia

Francesca Caccini (1587–1640)Chi Desia

INTERMISSION

Concert 3Thursday, June 20

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William Shakespeare Scene from Twelfth Night (I.1)

DUKE ORSINOIf music be the food of love, play on;Give me excess of it, that, surfeiting,The appetite may sicken, and so die.That strain again! it had a dying fall:O, it came o’er my ear like the sweet sound,That breathes upon a bank of violets,Stealing and giving odour! Enough; no more:‘Tis not so sweet now as it was before.O spirit of love! how quick and fresh art thou,That, notwithstanding thy capacityReceiveth as the sea, nought enters there,Of what validity and pitch soe’er,But falls into abatement and low price,Even in a minute: so full of shapes is fancyThat it alone is high fantastical.

William ShakespeareScene from Romeo & Juliet (I.5)

ROMEO If I profane with my unworthiest handThis holy shrine, the gentle fine is this:My lips, two blushing pilgrims, ready standTo smooth that rough touch with a tender kiss.

JULIET Good pilgrim, you do wrong your hand too much,Which mannerly devotion shows in this;For saints have hands that pilgrims’ hands do touch,And palm to palm is holy palmers’ kiss.

ROMEO Have not saints lips, and holy palmers too?

JULIET Ay, pilgrim, lips that they must use in prayer.

ROMEO O, then, dear saint, let lips do what hands do;They pray, grant thou, lest faith turn to despair.

JULIET Saints do not move, though grant for prayers’ sake.

ROMEO Then move not, while my prayer’s effect I take.Thus from my lips, by yours, my sin is purged.

JULIET Then have my lips the sin that they have took.

ROMEO Sin from thy lips? O trespass sweetly urged!Give me my sin again.

JULIET You kiss by the book.

Concert 1 and 3 Texts

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Concert 4Friday, June 21

If Music and Sweet Poetry Agree7:30pm Jordan Hall

Three selections arranged for Boston Guitar Orchestra are a prelude to tonight’s concert, capturing the essence of the English style. Purcell’s operatic masterpiece mourns the impending death of Dido, while Elgar’s youthful style is portrayed in his elegant Serenade for Strings; the Larghetto is perhaps his most famous work. The performance concludes with a tribute to one of England’s premier rock bands, Queen, with Freddy Mercury’s tragic Bohemian Rhapsody.

Moisès Fernández Via’s interpretation of Bach’s English Suite is enriched by a video poem, which was born of necessity: a performance venue was unable to fit a grand piano into their tiny space. In response, Via created a film that could faithfully present the closest possible visual translation of his approach to Bach’s English Suite, without a piano. Via and Nuria Orbea will also present Erich Wolfgang Korngold’s “Songs of the Clown” (based on texts from Shakespeare’s Twelfth Night), which received its first performance at a workshop sponsored by the great stage and screen director Max Reinhardt. Korngold, a legendary film composer, reveals his sensitivity to the musical and dramatic power

of Shakespeare’s texts in his Opus 29 songs, representing a rare venture into classical vocal repertoire during his “Hollywood” period.

Ravishing TouchLegendary lutenist Nigel North will bring to life the works of John Dowland in a program titled “Ravishing Touch.” In a sonnet from 1598, the poet Richard Barnfield* paid the most telling tribute to John Dowland by writing, “Dowland to thee is dear, whose heavenly touch/Upon the lute doth ravish human sense.” From this, and from Dowland’s music itself, we can sense that Dowland’s inimitable qualities as a performer (of his own compositions) were the beauty of his tone coupled with an extraordinary ability to move the emotions of his listeners. Dowland’s surviving canon of works consists of about one hundred solo lute pieces, almost the same quantity of lute songs, plus some consort pieces for viols and lute. He and Shakespeare were exact contemporaries, born one year apart. Shakespeare is known to have revised some works over many years, but this does not diminish our admiration of his genius. Similarly, some of Dowland’s lute pieces survive in as many as ten versions so it is impossible to define any as “the authentic one.”

*also attributed to William Shakespeare

Boston Guitar OrchestraScott Borg, Director

Henry Purcell (1659–1695) Dido’s Lament, from Dido and Aeneas (arr. Borg)

Edward Elgar (1857–1934) Serenade for Strings in E Minor Op.20 (arr. Borg) Allegro piacevole Larghetto

Queen (1975) Bohemian Rhapsody (arr. Zevos)

Moisès Fernández Via, piano Nuria Orbea, soprano

J. S. Bach (1685–1750)English Suite in G Minor, BWV 808[Performed in the context of the video-poem “Suite in b/n” by Moisès Fernández Via (2007)] Prélude Allemande Courante Sarabande Gavotte I & II Gigue

Isaac Albéniz (1860–1909)Two Songs (See text on p.16) The Caterpillar The Gifts of Gods

Erich Wolfgang Korngold (1897–1957)Songs of the Clown Op. 29(See text on p.16) Come Away, Death O Mistress Mine Adieu, Good Man Devil Hey, Robin! For the Rain, It Raineth Every Day

INTERMISSION

Mark Cohen, actor

William Shakespeare (1564–1616)Monologue from Richard III (I.1)(See text on p.17) Alexandra Manick, actor

William Shakespeare (1564–1616)The Passionate Pilgrim (See text on p.17)

Nigel North, lute

John Dowland (1563–1626)LachrimaeEarl of Essex, his GalliardMrs White’s thingLord Strange’s MarchPavan “Solus cum sola”Melancholy GalliardOrlando SleepethLady Hunsdon’s PuffeFortune my foeSweet RobinGo from my windowLord Willoughby’s WelcomeKatherine Darcy’s spiritTarleton’s ResurrectionMrs Winter’s Jump

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Not a friend, not a friend greetMy poor corpse, where my bones shall be thrown:A thousand, thousand sighs to save,Lay me, O whereSad true lover never find my grave,To weep there!

O Mistress MineO mistress mine, where are you roaming?O stay and hear, your true love’s coming That can sing both high and low.

Trip no further, pretty sweeting;Journeys end in lovers’ meeting,Ev’ry wise man’s son doth know.

What is love? ‘Tis not hereafter;Present mirth hath present laughter;What’s to come is still unsure:

In delay there lies no plenty;Then come kiss me, sweet and twenty;Youth’s a stuff will not endure.

Adieu, Good Man DevilI am gone, sir,And anon, sir,I’ll be with you again,in a trice,Like to the old vice,Your need to sustain.

Who with dagger of lathIn his rage and his wrath,Cries, aha, to the devil, aha, ha, ha!Like a mad lad,Pare thy nails, dad.Adieu, good man devil.

Hey Robin!Hey, Robin, jolly Robin,Tell me how thy lady does.My lady is unkind, perdy.Hey, Robin, jolly Robin,Tell me why is she so?She loves another, another.

For the Rain It Raineth Every DayWhen that I was and a little tiny boy,[With] hey, ho, the wind and the rain,A foolish thing was but a toy,For the rain it raineth every day.

But when I came to man’s estate,[With] hey, ho, the wind and the rain,‘Gainst knaves and thieves men shut their gate,For the rain it raineth every day.

But when I came, alas! to wive,With hey, ho, the wind and the rain.By swaggering could I never thrive,For the rain it raineth every day.

But when I came unto my beds,With hey, ho, the wind and the rain,With toss-pots still had drunken heads,For the rain it raineth every day.

A great while ago the world begun,With hey, ho, the wind and the rain,But that’s all one, our play is done,And we’ll strive to please you every day.

William ShakespeareMonologue from Richard III (I.1)

GLOUCESTERNow is the winter of our discontentMade glorious summer by this sun of York;And all the clouds that lour’d upon our houseIn the deep bosom of the ocean buried.Now are our brows bound with victorious wreaths;Our bruised arms hung up for monuments;Our stern alarums changed to merry meetings,Our dreadful marches to delightful measures.Grim-visaged war hath smooth’d his wrinkled front;And now, instead of mounting barded steedsTo fright the souls of fearful adversaries,He capers nimbly in a lady’s chamberTo the lascivious pleasing of a lute.But I, that am not shaped for sportive tricks,Nor made to court an amorous looking-glass;I, that am rudely stamp’d, and want love’s majestyTo strut before a wanton ambling nymph;I, that am curtail’d of this fair proportion,Cheated of feature by dissembling nature,Deformed, unfinish’d, sent before my timeInto this breathing world, scarce half made up,And that so lamely and unfashionableThat dogs bark at me as I halt by them;Why, I, in this weak piping time of peace,Have no delight to pass away the time,Unless to spy my shadow in the sunAnd descant on mine own deformity:And therefore, since I cannot prove a lover,To entertain these fair well-spoken days,I am determined to prove a villainAnd hate the idle pleasures of these days.Plots have I laid, inductions dangerous,By drunken prophecies, libels and dreams,To set my brother Clarence and the kingIn deadly hate the one against the other:And if King Edward be as true and justAs I am subtle, false and treacherous,This day should Clarence closely be mew’d up,About a prophecy, which says that ‘G’Of Edward’s heirs the murderer shall be.Dive, thoughts, down to my soul: hereClarence comes.

William Shakespeare The Passionate Pilgrim

VIII.If music and sweet poetry agree,As they must needs, the sister and the brother,Then must the love be great ‘twixt thee and me,Because thou lovest the one, and I the other.Dowland to thee is dear, whose heavenly touchUpon the lute doth ravish human sense;Spenser to me, whose deep conceit is suchAs, passing all conceit, needs no defence.Thou lovest to hear the sweet melodious soundThat Phoebus’ lute, the queen of music, makes;And I in deep delight am chiefly drown’dWhen as himself to singing he betakes.One god is god of both, as poets feign;One knight loves both, and both in thee remain.

Isaac Albéniz Selected SongsText by Francis Money Coutts

The CaterpillarCaterpillar on the wall,Wither, wither do you crawl?You know not, yourself, me thinks,strange and wandering little sphinx!

I will tell you where to go,underneath the winter snow,in an old tree’s secret hole,you shall hide your little soul.

There, with summer, you shall learn,thence, with summer, you shall leap,wave your fairy wings on high,sip the flowers and kiss the sky.

Emblem worm of many thing,so the joyous mind can springthrough the hush of brooding hours,kiss the sky and sip the flowers.

The Gifts of the GodsOnce with life and love enamour’dWe besought the gods above;“Send us love and life!” we clamour’dand they sent us life and love.

Soon they overfill’d the measureSoon we pray’d them “Grant us calm!”But the answer’d “Pain is pleasure!”“Crush from bitter herbs the balm!”

“Forms of beauty ye may fashion from the anguish of the heart;”“Only by the cross of passion can ye win the crown of Art.”

Erich Wolfgang Korngold Songs of the Clown Op. 29

Come Away DeathCome away, come away, death,And in sad cypress let me be laid;Fly away, fly away, breath;I am slain by a fair cruel maid.My shroud of white, stuck all with yew,O prepare it!My part of death, no one so trueDid share it.

Not a flower, not a flower sweet,On my black coffin let there be strown;

Concert 4 Texts

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Robert Price, guitar

Donovan (b. 1946)The Fat Angel

Zaira Meneses, guitarAdam Levin, guitar

Erich Wolfgang Korngold (1897–1957)Intermezzo & Hornpipe from Much Ado About Nothing(arr. for two guitars by Gregg Nestor)

Adam Levin, guitar

Mario Castelnuovo-Tedesco (1985–1968)Platero y yo, Op.190 Los Gitanos Golondrinas La Primavera

Lautaro Mantilla, guitarDavid Cordes, narrator

Eugenio Martinez (b.1980)The Poise and the NoiseMerengue

Lautaro Mantilla (b. 1982)Walk a Tightrope

George Harrison (1943–2001)While My Guitar Gently Weeps (arr. Mark Ribot)

Lautaro Mantilla (b. 1982)Lilliput’s TrialText from the Gulliver’s Travels by Jonathan Swift (1667–1745)

Bryan Burns, guitar

John Dowland (1563–1626)Preludium (Poulton 98)

Francesco da Milano (1497–1543)Ricercare “La Compagana”(N. 34)

Sir Lennox Berkeley (1903–1989)Theme and Variations Op. 77

Raquel Fisk, piano

Felix MendelssohnLied ohne Worte, Op. 19 #1, in E major

Liz Hayes, actor

William Shakespeare (1564–1616)Monologue from Henry V (I.1)(See text on p.21)

Nicholas Ciraldo, guitar Rachel Ciraldo, flute

George Rochberg (1918–2005)Muse of Fire

Fernando Sor (1778–1839)Etude in C Major, Opus 6, Number 10

Stefan Koim, guitar Hans Werner Henze (1926–2012)Royal Winter Music Sonata No.2 *based on Shakespearean Characters I. Sir Andrew Aguecheeck II. Bottom’s dream III. Mad Lady Macbeth (following the next two scenes)

Mark Cohen, actorCandice Brown, actorAlex Simoes, actorLiz Hayes, actor

William Shakespeare (1564–1616)From A Midsummer Night’s Dream (IV.1)(See text on p.21)

Candice Brown, actorAlex Simoes, actorLiz Hayes, actor

William Shakespeare (1564–1616)From Macbeth(See text on p.22)

Tessa Lark, violin

Niccolo Paganini (1782–1840)Variations on “God Save the King” Op. 9

Emerging Artists Marathon3pm Jordan Hall

Boston GuitarFest is proud to present its first-ever Emerging Artists marathon concert, featuring some of the most exciting young musicians on the world stage today. Audience members are welcome to come and go as needed, but you won’t want to miss the spectacular variety and artistry packed into this afternoon concert.

Concert 5Saturday, June 22

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Robert Bekkers, guitar HuiMin Wang, piano

Mario Castelnuovo-Tedesco (1985–1968)Fantasia Opus 145 I. Andantino II. Vivacissimo

Scott Borg, guitar

William Walton (1902–1982)Five Bagatelles Allegro Lento Alla Cubana Sempre espressivo Con slancio

Julian Bream, guitarRaquel Fisk, piano

Joaquín Malats (1872–1912) Serenata Española

William ShakespeareMonologue from Henry V (I.1)

CHORUSO for a Muse of fire, that would ascendThe brightest heaven of invention,A kingdom for a stage, princes to actAnd monarchs to behold the swelling scene!Then should the warlike Harry, like himself,Assume the port of Mars; and at his heels,Leash’d in like hounds, should famine, sword and fireCrouch for employment. But pardon, and gentles all,The flat unraised spirits that have daredOn this unworthy scaffold to bring forthSo great an object: can this cockpit holdThe vasty fields of France? or may we cramWithin this wooden O the very casquesThat did affright the air at Agincourt?O, pardon! since a crooked figure mayAttest in little place a million;And let us, ciphers to this great accompt,On your imaginary forces work.Suppose within the girdle of these wallsAre now confined two mighty monarchies,Whose high upreared and abutting frontsThe perilous narrow ocean parts asunder:Piece out our imperfections with your thoughts;Into a thousand parts divide on man,And make imaginary puissance;Think when we talk of horses, that you see themPrinting their proud hoofs i’ the receiving earth;For ‘tis your thoughts that now must deck our kings,Carry them here and there; jumping o’er times,Turning the accomplishment of many yearsInto an hour-glass: for the which supply,Admit me Chorus to this history;Who prologue-like your humble patience pray,Gently to hear, kindly to judge, our play.

William ShakespeareFrom A Midsummer Night’s Dream (IV.1)

TITANIACome, sit thee down upon this flowery bed,While I thy amiable cheeks do coy,And stick musk-roses in thy sleek smooth head,And kiss thy fair large ears, my gentle joy.

BOTTOMWhere’s Peaseblossom?

PEASEBLOSSOMReady.

BOTTOMScratch my head Peaseblossom. Where’s Mounsieur Cobweb?

COBWEBReady.

BOTTOMMounsieur Cobweb, good mounsieur, get you yourweapons in your hand, and kill me a red-hippedhumble-bee on the top of a thistle; and, goodmounsieur, bring me the honey-bag. Do not fretyourself too much in the action, mounsieur; and,good mounsieur, have a care the honey-bag break not;I would be loath to have you overflown with ahoney-bag, signior. Where’s Mounsieur Mustardseed?

MUSTARDSEEDReady.

BOTTOMGive me your neaf, Mounsieur Mustardseed. Pray you,leave your courtesy, good mounsieur.

MUSTARDSEEDWhat’s your Will?

BOTTOMNothing, good mounsieur, but to help Cavalery Cobwebto scratch. I must to the barber’s, monsieur; formethinks I am marvellous hairy about the face; and Iam such a tender ass, if my hair do but tickle me,I must scratch.

TITANIAWhat, wilt thou hear some music,my sweet love?

BOTTOMI have a reasonable good ear in music. Let’s havethe tongs and the bones.

TITANIAOr say, sweet love, what thou desirest to eat.

BOTTOMTruly, a peck of provender: I could munch your gooddry oats. Methinks I have a great desire to a bottleof hay: good hay, sweet hay, hath no fellow.

TITANIAI have a venturous fairy that shall seekThe squirrel’s hoard, and fetch thee new nuts.

BOTTOMI had rather have a handful or two of dried peas.But, I pray you, let none of your people stir me: Ihave an exposition of sleep come upon me.

TITANIASleep thou, and I will wind thee in my arms.Fairies, begone, and be all ways away.So doth the woodbine the sweet honeysuckleGently entwist; the female ivy soEnrings the barky fingers of the elm.O, how I love thee! how I dote on thee!

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LADY MACBETHOut, damned spot! out, I say!--One: two: why,then, ‘tis time to do’t.--Hell is murky!--Fie, mylord, fie! a soldier, and afeard? What need wefear who knows it, when none can call our power toaccount?--Yet who would have thought the old manto have had so much blood in him.

DOCTORDo you mark that?

LADY MACBETHThe thane of Fife had a wife: where is she now?--What, will these hands ne’er be clean?--No more o’that, my lord, no more o’ that: you mar all withthis starting.

DOCTORGo to, go to; you have known what you should not.

GENTLEWOMANShe has spoke what she should not, I am sure ofthat: heaven knows what she has known.

LADY MACBETHHere’s the smell of the blood still: all theperfumes of Arabia will not sweeten this littlehand. Oh, oh, oh!

DOCTORWhat a sigh is there! The heart is sorely charged.

GENTLEWOMANI would not have such a heart in my bosom for thedignity of the whole body.

DOCTORWell, well, well,

GENTLEWOMANPray God it be, sir.

DOCTORThis disease is beyond my practise: yet I have knownthose which have walked in their sleep who have diedholily in their beds.

LADY MACBETHWash your hands, put on your nightgown; look not sopale.--I tell you yet again, Banquo’s buried; hecannot come out on’s grave.

DOCTOREven so?

LADY MACBETHTo bed, to bed! there’s knocking at the gate:come, come, come, come, give me your hand. What’sdone cannot be undone.—To bed, to bed, to bed!

William Shakespeare (1564–1616)From Macbeth

DOCTORI have two nights watched with you, but can perceiveno truth in your report. When was it she last walked?

GENTLEWOMANSince his majesty went into the field, I have seenher rise from her bed, throw her night-gown uponher, unlock her closet, take forth paper, fold it,write upon’t, read it, afterwards seal it, and againreturn to bed; yet all this while in a most fast sleep.

DOCTORA great perturbation in nature, to receive at oncethe benefit of sleep, and do the effects ofwatching! In this slumbery agitation, besides herwalking and other actual performances, what, at anytime, have you heard her say?

GENTLEWOMANThat, sir, which I will not report after her.

DOCTORYou may to me: and ‘tis most meet you should.

GENTLEWOMANNeither to you nor any one; having no witness toconfirm my speech.Lo you, here she comes! This is her very guise;and, upon my life, fast asleep. Observe her; stand close.

DOCTORHow came she by that light?

GENTLEWOMANWhy, it stood by her: she has light by hercontinually; ‘tis her command.

DOCTORYou see, her eyes are open.

GENTLEWOMANAy, but their sense is shut.

DOCTORWhat is it she does now? Look, how she rubs her hands.

GENTLEWOMANIt is an accustomed action with her, to seem thuswashing her hands: I have known her to continue inthis a quarter of an hour.

LADY MACBETHYet here’s a spot.

DOCTORHark! she speaks: I will set down what comes fromher, to satisfy my remembrance the more strongly.

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Concert 6Saturday, June 22

Music at the Close8pm Jordan Hall

The festival’s final concert, opens with Castelnuovo-Tedesco’s guitar solo dedicated to Andres Segovia and closes with Benjamin Britten’s tombeau to John Dowland, the epic Nocturnal after John Dowland, Op. 70. Maestro Oscar Ghiglia, the festival’s special guest, performs one of da Milano’s great contrapuntal Ricercars and is joined by artistic director Eliot Fisk in a new version for two guitars of da Milano’s transcription of Jannequin’s vocal quartet, “Song of the Birds.” Renowned operatic tenor Nicholas Phan joins Fisk to continue the cross-channel, English-French connection in French folksong settings by Matyas Seiber (a Hungarian turned Briton). Nuria Orbea joins Fisk for Britten’s piquant Songs from the Chinese, and Phan and Fisk follow this with Walton’s often bawdy Anon. in Love. Fisk and Phan continue with some of the greatest lute song masterpieces by John Dowland, whose 450th birthday the festival celebrates this year, and whose “Come Heavy Sleep” returns to conclude Britten’s Nocturnal, dedicated to our festival’s own dedicatee, Julian Bream.

Oscar Ghiglia, guitar

Mario Castelnuovo-Tedesco (1895–1968)Tonadilla on the name of Andres Segovia, Op. 170, Nr. 5

Francesco da MilanoRicercare XVII

Eliot Fisk, guitarOscar Ghiglia, guitar

Clement Jannequin/ Francesco da Milano/ Oscar Ghiglia Canzon degli Uccelli (Song of the Birds)

Eliot Fisk, guitarNicholas Phan, tenor

Mátyás Seiber (1905–1960)4 French Folk Songs (See text on p.26) Réveillez-vous J’ai descendu Le Rossignol Marguerite, elle est malade

Eliot Fisk, guitarNuria Orbea, soprano

Benjamin Britten (1913–1976)Songs from the Chinese, Op. 58(See text on p.26) The Big Chariot The Old Lute The Autumn Wind The Herd-Boy Depression Dance Song

Eliot Fisk, guitarNicholas Phan, tenor

William Walton (1902–1983)Anon. in Love (See text on p.27) Fain would I change that note O stay, sweet love Lady, when i behold the roses My love in her attire I gave her Cakes and I gave her Ale To couple is a custom

INTERMISSION

Mark Cohen, actor

William Shakespeare (1564–1616)Scene from Richard II (II.2)(See text on p.28)

Eliot Fisk, guitarNicholas Phan, tenor

John Dowland (1563–1626)Fine Knacks for LadiesDisdain me StillCan She Excuse My WrongsIn Darkness Let Me DwellNow o Now I needs must partCome, Heavy Sleep(See text on p.28)

Eliot Fisk, guitar

Benjamin Britten (1913–1976)Nocturnal after John Dowland, Op. 70 Musingly Very agitated Restless Uneasy March-like Dreaming Gently rocking Passacaglia

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Mátyás Seiber 4 French Folk Songs

1. Réveillez-vousWake up, my beautiful sleeper, Wake up, because it’s daytime Put your head out the window You’ll hear us talking about you The beautiful one put her foot on the floor, and softly made her way; with one hand she opened the door: Come in, Galant one, if you love me But the beauty fell asleep in the arms of her lover and he, watching her, saw his dying eyes reflected in hers, Oh, that the stars are brilliant and the sun is blazing; but the beautiful eyes of my mistress are even more charming.

2. J’ai descenduI went down to my garden to pick rosemary Sweet poppy, my ladies, Sweet new poppy I hadn’t even picked three sprigs when a nightingale flew to my hand Sweet poppy, my ladies, Sweet new poppy He said three words in Latin: That men aren’t worth anything Sweet poppy, my ladies, Sweet new poppy That men aren’t worth anything, and young men are worth even less Sweet poppy, my ladies, Sweet new poppy Of the ladies he didn’t tell me anything, but of damsels he spoke very highly, Sweet poppy, my ladies, Sweet new poppy

3. RossignolNightingale of the woods, Wild nightingale, teach me your language, teach me to speak, teach me the way to love, how to love

They told me, beautiful one, that you had some apples, some rennet apples that are in your garden. let me, beautiful one, lay my hand on them No, I will not let you touch my apples. First, take the moon and the sun in your hand; only then you will have the apples that are in my garden.

4. Marguerite, elle est maladeMarguerite is ill, she needs a doctor! The doctor says in his visit that wine is off limits! Doctor, go to the Devil as long as you keep wine from me! I’ve drunk it all my life I will drink it until the very end!

Benjamin BrittenSongs from the Chinese

The Big Chariot (The Book of Songs)D’ont help on the big chariotYou will only make yourself dustyD’ont think about the sorrows of the worldYou will only make yourself wretched.

D’ont help on the big chariotYou w’ont be able to see for dustD’ont think about the sorrows of the worldOr you will never escape from your despair.D’ont help on the big chariotYou’ll be stifled with dust, be stifled with dustD’ont think about the sorrows of the worldYou will only load yourself with care.

The Old Lute (Po Chu-i)Of cord and cassiawood is the lute compounded,Within it lie ancient melodiesAncient melodies weak and saivourless,Not appealing to present men’s taste.

Light and color are faded from the jade stopsDust has covered the rose red strings.Decay and ruin came to it long ago.But the sound that is left is cold and clear

I do not refuse to play itIf you want me toBut even if I palyPeople will not listen

How did it came to be neglected so?Because of the Ch’ian flute and the zithern of Ch’in.

The unicorn’s brow!The duke’s kinsmen throngAlas for the unicorn!

The unicorn’s horn!The duke’s clansmen throngAlas for the unicorn!Alas!

William WaltonAnon. in Love

Fain would I change that noteFain would I change that note To which fond Love hath charm’d me Long, long to sing by rote, Fancying that that harm’d me: Yet when this thought doth come ‘Love is the perfect sum Of all delight!’ I have no other choice Either for pen or voice To sing or write. O Love! they wrong thee much That say thy fruit is bitter, When thy rich fruit is such As nothing can be sweeter. Fair house of joy and bliss, Where truest pleasure is, I do adore thee: I know thee what thou art, I serve thee with my heart, And fall before thee.

O stay, sweet loveO stay, sweet love; see here the place of sporting; These gentle flowers smile sweetly to invite us, And chirping birds are hitherward resorting, Warbling sweet notes only to delight us: Then stay, dear love, for, tho’ thou run from me, Run ne’er so fast, run ne’er so fast, yet I will follow thee. I thought, my love, that I should overtake you; Sweet heart, sit down under this shadow’d tree, And I, I will promise never, never, to forsake you, So you will grant to me a lover’s fee. Whereat she smiled, and kindly to me said - I never meant, I never meant, I never meant, I never meant to live and die a maid, I never meant to live and die a maid.

Lady, when I behold the roses sproutingLady, when I behold the roses sprouting, Which clad in damask mantles deck the arbours, And then behold your lips where sweet love harbours,

The Autumn Wind (Wu-ti)Autumm wind risesWhite clouds flyGrass and tres wither;Geese go south…Orchids all in Bloom,Chrysanthemums smell sweet….I think of my lovely ladyI never can forget

Floating pagoda boatCrosses Fên RiverAcross the midstreamWhite waves rise

Flute and drum keep time,To sound of rowers’ songAmidst revel and feastingSad thoughts come

Youth’s years how few,Age how sure!Age how sure,Age, how…. sure!

The Herd-Boy (Lu Yu)In the southern village,the boy who minds the ox,with his nacked feetstands on the ox’s back.

Through the hole in his coatThe river wind blowsThrough his broken hatThe mountain rain poursOn the long dykeHe seemed to be far away,In the narrow laneSuddenly we were face to face

The boy is homeAnd the o xis back in his stall,And a dark smoke oozesThrough the thatched roof.

Depression (Po Chu-i)Turned to jadeAre the boy’s rosy cheeksTo his sick templesThe frost of Winter clingsDo not wonder That my body sinks to decayThough my limbs are old,My heart is older,Older yet.

Dance Song (The Book of Songs)The unicorn’s hoofs!The duke’s sons throngAlas for the unicorn!

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My eyes present me with a double doubting; For, viewing both alike, hardly my mind supposes Whether the roses be your lips or your lips the roses.

My Love in her attire My Love in her attire doth show her wit, It doth so well become her: For every season she hath dressings fit, For winter, spring, and summer. No beauty she doth miss When all her robes are on: But Beauty’s self, Beauty’s self she is When all her robes are gone.

I gave her Cakes and I gave her AleI gave her Cakes and I gave her Ale, I gave her Sack and Sherry; I kissed her once and I kissed her twice, And we were wondrous merry. I gave her Beads and Bracelets fine, I gave her Gold down derry. I thought she was afear’d till she stroked my Beard And we were wondrous merry. Merry my Hearts, merry my Cocks, Merry merry merry my Sprights. Merry merry merry my hey down derry. I kissed her once and I kisssed her twice, And we were wondrous merry.

To couple is a customTo couple is a custom All things thereto agree. Why should not I then love, Since love to all is free? But I’ll have one that’s pretty, Her cheeks of scarlet dye, For to breed my delight When that I lig her by. Tho’ virtue be a dowry, Yet I’ll chuse money store: If my love prove untrue, With that I can get more. The fair is oft unconstant, The black is often proud, I’ll chuse a lovely brown: Come fiddler scrape thy crowd.

Come fiddler scrape thy crowd, For Peggy the brown is she; She must be my bride; God guide that Peggy and I agree.

William ShakespeareScene from Richard II (II.2)

JOHN OF GAUNTO, but they say the tongues of dying menEnforce attention like deep harmony:Where words are scarce, they are seldom spent in vain,For they breathe truth that breathe their words in pain.He that no more must say is listen’d moreThan they whom youth and ease have taught to glose;More are men’s ends mark’d than their lives before:The setting sun, and music at the close,As the last taste of sweets, is sweetest last,Writ in remembrance more than things long past:Though Richard my life’s counsel would not hear,My death’s sad tale may yet undeaf his ear.

John DowlandSelected Songs

Fine knacks for ladiesFine knacks for ladies, cheap, choice, brave and new, Good pennyworths but money cannot move, I keep a fair but for the fair to view, A beggar may be liberal of love. Though all my wares be trash, the heart is true. Great gifts are guiles and look for gifts again, My trifles come as treasures from my mind, It is a precious jewel to be plain, Sometimes in shell the Orient’s pearls we find. Of others take a sheaf, of me a grain. Within this pack pins, points, laces and gloves, And divers toys fitting a country fair, But in my heart, where duty serves and loves, Turtles and twins, Court’s brood, a heav’nly pair. Happy the man that thinks of no removes.—Anonymous

Disdain me stillDisdain me still, that I may ever love, For who his love enjoys can love, can love no more. The war once past with ease men cowards prove: And ships return’d do rot upon the shore. And though thou frown, I’ll say thou art most fair, most fair: And still I’ll love, and still I’ll love, I’ll love, though still, though still I must despair. As heat to life, so is desire to love, And these once quench’d, both life and love are gone, are gone. Let not my sighs nor tears thy virtue move, Like baser metals do not melt too soon. Laugh at my woes although I ever mourn, ever mourn. Love surfeits, Love surfeits with rewards, his nurse, is scorn, his nurse is scorn. —William, Earl of Pembroke

Can She Excuse My Wrongs?Can she excuse my wrongs with Virtue’s cloak? Shall I call her good when she proves unkind? Are those clear fires which vanish into smoke? Must I praise the leaves where no fruit I find? No, no; where shadows do for bodies stand, That may’st be abus’d if thy sight be dim. Cold love is like to words written on sand, Or to bubbles which on the water swim. Wilt thou be thus abused still, Seeing that she will right thee never? If thou canst not o’ercome her will, Thy love will be thus fruitless ever. Was I so base, that I might not aspire Unto those high joys which she holds from me? As they are high, so high is my desire, If she this deny, what can granted be? If she will yield to that which reason is, It is reason’s will that love should be just. Dear, make me happy still by granting this, Or cut off delays if that I die must. Better a thousand times to die Than for to love thus still tormented: Dear, but remember it was I Who for thy sake did die contented. —Anonymous

In darkness let me dwellIn darkness let me dwell, the ground shall sorrow be, The roof despair to bar all cheerful light from me, The walls of marble black that moist’ned still shall weep, My music hellish jarring sounds to banish friendly sleep. Thus wedded to my woes and bedded to my tomb O, let me living die, till death do come. —Anonymous

Now o now I needs must partNow, oh now I needs must part, Parting though I absent mourn. Absence can no joy impart: Joy once fled cannot return. While I live I needs must love, Love lives not when Hope is gone. Now at last Despair doth prove, Love divided loveth none. Sad despair doth drive me hence; This despair unkindness sends. If that parting be offence, It is she which then offends. Dear when I from thee am gone, Gone are all my joys at once, I lov’d thee and thee alone, In whose love I joyed once.

And although your sight I leave, Sight wherein my joys do lie, Till that death doth sense bereave, Never shall affection die. Sad despair doth drive me hence; This despair unkindness sends. If that parting be offence, It is she which then offends.

Dear, if I do not return, Love and I shall die together. For my absence never mourn Whom you might have joyed ever; Part we must though now I die, Die I do to part with you. Him despair doth cause to lie Who both liv’d and dieth true. Sad despair doth drive me hence; This despair unkindness sends. If that parting be offence, It is she which then offends. —Anonymous

Come, heavy sleepCome, heavy Sleep, the image of true Death, And close up these my weary weeping eyes, Whose spring of tears doth stop my vital breath, And tears my heart with Sorrow’s sigh-swoll’n cries. Come and possess my tired through-worn soul, That living dies till thou on me be stole. Come, shadow of my end and shape of rest, Allied to Death, child to his joyless black-fac’d Night, Come thou and charm these rebels in my breast, Whose waking fancies doth my mind affright. O come, sweet Sleep, or I die forever; Come ere my last sleep comes, or come thou never. —Anonymous

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Oscar Ghiglia Special GuestBorn of an artistic family—his father and grandfather both famed painters, his mother an accomplished pianist—Oscar Ghiglia had to choose between a path strewn with brushes and colors and a world cut into harmony and melody. Though his early choice produced a few hundred watercolors and a number of oil paintings, he soon realized music was his way. For this decision he thanks his dad, who one day made him pose for a painting showing a guitarist. For this painting he had to hold his father’s guitar, a companion to his artistic musings while forming works. This painting was the start to a lifetime of disciplined dedication to music. After graduating from Santa Cecilia’s Conservatory of Rome, O.G. began an apprenticeship beside the great Master Andres Segovia, who was his major influence and inspiration during his formative

years. Later O.G. “inherited” Segovia’s glorious Class in Siena’s Accademia Chigiana and spread his own teaching around five continents in a sister vocation to his concertizing. O.G. is proud of having founded such strongholds of guitar teaching as the Guitar Department at the Aspen Music Festival (Colorado, USA) as well as in the Festival de Musique des Arcs and the Incontri Chitarristici di Gargnano, of which he was artist in residence. He has been visiting profes-sor in such centers as the Cincinnati and San Francisco Conservatories, Juilliard, the Hartt School, and Northwestern University in Evanston, Illinois. In all these centers and elsewhere, Ghiglia has been nurturing talents and forming or perfecting young artists’ musical outlook and interpreta-tion. Composers such as Giampaolo Bracali and Franco Donatoni, among others, have written and dedicated important works for Oscar Ghiglia. Besides touring as a solo performer, O.G. has played and recorded with singers Victoria de Los Angeles, Jan de Gaetani, Gerald English, and John McCol-lum; flutists Jean-Pierre Rampal and Julius Baker; ensembles such as the Juilliard String Quartet, the Emerson String Quartet, the Cleveland String Quartet, the Quartetto d’archi di Venezia, and the Tokyo String Quartet; violinists Giuliano Carmignola, Franco Gulli, Salvatore Accardo, Regis Pasquier; violists Bruno Giuranna and Pinchas Zuckerman; cellists K. Adam, Albert Roman, Lászlo Varga; and guitarists Eliot Fisk, Shin-ichi Fukuda, L. Guerra, Antigoni Goni, and Elena Papandreou. O.G. was a founding member of the the International Classic Guitar Quartet (with, in different turns, Benjamin Bunch, O. Koga, Anders Miolin, S. Schmidt, Andreas v. Wangenheim), Presently, after his last CD, Manuel Ponce’s Guitar Music, the Stradivarius label has issued a new CD including some of the most important lute works of J. S. Bach. Retired from the Basel Music Academy (Switzerland), where he held the professorship in guitar from 1983 until 2005, his teaching continues in the summer at the Accademia Chigiana in Siena, in Gargnano, and during the year in Athens, to a select group of pupils flocking in periodically from the four corners of Europe. In March 2008 a selected group of his former students celebrated Oscar Ghiglia’s seventieth birthday in a festival held in the Mannes School of music of New York—including concerts, lectures, and master classes—called “The Ghiglia Legacy.” An analogous celebration took place in 2009 in Ithaca, New York. Besides having started the guitar program at the Aspen Music Festival, Ghiglia was founder (1976) of the International Guitar Competition of Gargnano, Italy. O.G. boasts a very high number of first-prize winners among his students in competitions around the world.

Eliot Fisk Founder and Artistic DirectorGuitarist Eliot Fisk is known worldwide as a charismatic performer famed for his adventurous and virtuosic repertoire. He is also celebrated for his willingness to take art music into unusual venues (schools, senior centers, and even logging camps and prisons!). After 45 years before the public he remains as his mentor Andres Segovia once wrote, “at the top line of our artistic world.”The repertoire of the classical guitar has been transformed through Fisk’s transcriptions (including works by Bach, Scarlatti, Haydn, Mozart, Paganini, Albeniz and many others); through works dedicated to him by composers as varied as Luciano Berio, Leonardo Balada, Robert Beaser, Nicholas Maw, George Rochberg, Daniel Bernard Roumain, and Kurt Schwertsik; and through his collaborations with musicians in classical, flamenco, jazz, and world music styles.

Eliot’s recordings have entered the Billboard charts as best sellers. Two solo CDs featuring contemporary works written for and transcribed by Eliot Fisk were released to great acclaim in 2010 by Wildner Records. Upcoming releases include Amazing Grace with Richard Stoltzman (clarinet) and 2 additional CDs with Paco Peña (flamenco guitar) and cellist Yehuda Hanani.

In the 2012–2013 concert season, in addition to his regular concerto, recital, and chamber-music appearances, Eliot Fisk performed on two continents in duo recital with jazz guitar great Bill Frisell. Within a one-month period in 2013 he premiered songs for cello, voice, and guitar by Robert Beaser; a new arrangement for 2 guitars and orchestra of William Bolcom’s Graceful Ghost Rag by Payton McDonald; and Ralf Gawlick’s mammoth tribute to German artist Kaethe Kollwitz, Kollwitz Kodex, for soprano and guitar. The latter was premiered in the US at Boston College and in Germany at the Kollwitz Museum in Cologne.

Other recent landmark premieres have included Robert Beaser’s Guitar Concerto (with Dennis Russell Davies at Zankel Hall in New York City), Eliot’s transcription for solo guitar of John Corigliano’s Red Violin Caprices, and the epic solo suite Ein Kleines Requiem dedicated to him by Austrian composer Kurt Schwertsik.

Eliot Fisk was the last direct pupil of Andres Segovia and also studied interpretation with the legendary harpsichordist Ralph Kirkpatrick at Yale University, from which he graduated summa cum laude in 1976. Described by one New York Times headline as a “Fiery Missionary to the Unconverted,” Eliot Fisk is professor at the Universität Mozarteum in Salzburg, Austria, where he teaches in 5 languages, and in Boston at the New England Conservatory. In June of 2006, King Juan Carlos of Spain awarded Eliot the “Cruz de Isabel la Catolica” for his service to the cause of Spanish music. Earlier recipients of this honor included Andres Segovia and Yehudi Menuhin.

Eliot Fisk is Founder and Artistic Director of Boston GuitarFest (www.bostonguitarfest.org) an annual cross-disciplinary and cross-cultural extravaganza co-sponsored by the New England Conservatory and Northeastern University and now in its 8th consecutive year. More information at www.eliotfisk.com.

Musicians and Festival Profiles

Photo by Jesse Weiner

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Boston Guitar OrchestraThe Boston Guitar Orchestra (BGO) is a community-based amateur ensemble that is committed to the promotion of the arts in the New England area through the performance and creation of works for guitar ensemble, while building an inclusive community of participants and audiences. Its members range in all levels, styles, and ages. With multiple players per part, the diverse mosaic of dynamic, color, timbre, and other various percussive

effects that can be created can rival most symphony orchestras. Formed in 2009, the BGO garnered praise from the Boston Guitar community and is now a centerpiece of the Boston Classical Guitar Society, providing a unique opportunity for guitar enthusiasts to become active participants in guitar-related activities rather than just spectators.

Bryan Burns GuitarBryan began studying the guitar at the relatively late age of nineteen. His artistic development was guided by several important guitarists including Matteo Mela and Lorenzo Micheli. In 2009, Bryan began postgraduate work with renowned guitarist Eliot Fisk, specifically focusing on Baroque transcription. Bryan holds two music degrees from the University of North Texas (BM 2008 and MM 2009) as well as an Artistic Graduate Diploma from the New England Conservatory (2011). He is currently a teaching fellow at the University of North Texas where he is completing a DMA in musicology and classical guitar performance. Most recently, Mr. Burns founded the UNT Guitar Collegium and cofounded the North Texas Guitar Academy, serving as its artistic director. He is currently writing two method books focused on solfeggio and technique.

Ciraldo Duo Guitar and FluteThe Ciraldo Duo has merged a pair of musical talents—Nicholas Ciraldo and Rachel Taratoot Ciraldo—to form a distinctive and colorful ensemble. They have trained with flutist Thomas Rober-tello; guitarists David Leisner, Eliot Fisk, and Adam Holzman; clarinetist Ethan Sloane; pianist Edward Auer; and the Shanghai String Quartet. The duo performed at the Hampden-Sydney Music Festival, the Boston Flute Association Flute Fair, the Simsbury Chamber Music Festival, the Boston Classical Guitar Society Guitar Festival, and the National Flute Association Annual Convention. The duo pursues improvement of music education and community by collaborating with organizations such as Community Partnerships Program of the Saint Louis Symphony Orchestra and the Austin Classical Guitar Society’s Educational Outreach Program. Presently, Rachel and Nicholas reside in Hattiesburg, Mississippi.

Robert Bekkers Guitar, Production ManagerRobert Bekkers has been performing and teaching classical guitar for more than 15 years. He earned a teacher’s certificate (bachelors) and performer’s certificate (masters) at the Conservatorium van Maastricht (Netherlands). During this study he also resided in Italy where he was a student of Angelo Gilardino. Recently he has come to Boston, where he is enrolled in the DMA program at the New England Conservatory and has the unique opportunity to work with Eliot Fisk. Robert has also participated in master classes given by many internationally renowned artists including Pepe Romero, David Russell, Abel Carlevaro, and Alexander Frauchi. Robert performs regularly as a soloist and in collaboration with piano, violin, flute, or voice in programs ranging from classical opera arias to contemporary compositions dedicated to his piano-guitar duo.

Scott Borg Guitar, Boston Guitar Orchestra DirectorAustralian guitarist Scott Borg has been praised as a daring and innovative artist with “enormous facility on the guitar, a fluent technique, who plays with total confidence and professional expertise, panache and artful spontaneity.” New York Concert Review described his Carnegie Hall Debut as “gracefully presented, and expertly played…each note was purposeful and focused, as was each was rest.” His performances have been broadcasted on Australian and American public radio stations, including a 2006 internationally televised address of Chinese president Hu Jintao to the United States. Currently a candidate in the doctoral program at NEC under the tutelage of Maestro Eliot Fisk, Borg previously received degrees from Yale University and the Juilliard School. He is currently on faculty at the Levine School of Music in Washington DC.

Candice Brown ActorCandice Brown earned her BA from New Mexico State University and her MFA from University of Pittsburgh. Among her most favorite stage performances are as the mother in the world premiere and Pulitzer Prize-nominated play Nocturne by Adam Rapp; Phoebe in As You Like It; Katherine in Love’s Labour’s Lost; Ophelia in Ophelia, a Japanese Noh adaptation; and Hero in Much Ado About Nothing. Brown earned her tenure in the BFA acting and musical theatre departments of SUNY Fredonia in 1999. She then moved to Boston to teach at Brandeis University in the MFA actor training program. Brown served as head of the voice and movement division at Wheaton College from 2001 to 2003 and joined the theater faculty of the Boston Conserva-tory in fall 2004.

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Mark Cohen ActorMark Cohen (BU) holds an MFA from the Academy for Classical Acting at The Shakespeare Theatre, George Washington University; an MA from Brown University (Theatre); and a BA from Yale University (English). Mark studied extensively at the Guildhall School of Music and Drama in London, and completed a two-year training program in the Meisner Technique in New York. He is creator and artistic director of The TheatreBridge Company, under the dual sponsorship of Brown and Trinity Repertory Theatre. He serves as artistic director for TheatreBridge and as an artistic associate for other companies. Mark has directed, among other projects, Angels in America, Cymbeline, and Twelfth Night, while teaching at Rhode Island School of Design, Wake Forest University, Mercy College, and Emerson College.

Anthony Paul De Ritis Composition Competition Judge,Chair of Northeastern University’s Department of MusicComposer Anthony Paul De Ritis’ music has been called “infec-tious,” “persuasive,” and “really cool.” His compositions have been performed throughout Europe, North America, and Asia, including the San Diego, Oakland, and New Haven symphonies, the Baltimore Chamber Orchestra, BMOP, and the Taipei Chinese Orchestra. In 2007 De Ritis composed Melody for Peace for Western orchestra and orchestra of non-Western indigenous instruments. Commissioned by the Melody for Dialogue Among Civilizations As-sociation, this work was premiered by the Prague Philharmonic at UNESCO headquarters in Paris and then reprised by the Orchestra of St. Lukes at Lincoln Center. Chair of the Music Department at Northeastern University, De Ritis completed his PhD in Music Composition at the University of California, Berkeley, and his MBA in high-tech at Northeastern University.

Alexander Dunn Guitar, Composition Competition JudgeCanadian classical guitarist Alexander Dunn has performed in Canada, the USA, Cuba, New Zealand, Mexico, Brasil, Asia, China, South Africa, Europe, and Russia. Recent chamber music and recital performances include work with principal players from the Pacific Baroque Orchestra, Seattle Baroque Orchestra, Tafelmusik; in duo with guitarists Pepe Romero, David Tanenbaum, tenor Benjamin Butterfield, and many more. Mr. Dunn holds a master’s Degree in Performance from the San Francisco Conservatory of Music and a PhD in musicology from the University of California, San Diego, where he was a protégé of Pepe Romero; his extensive summer studies were at the Aspen Music Festival and the Salzburg Mozarteum. He is an examiner for the Royal Conservatory Toronto and currently heads what is considered one of Canada’s top guitar programs at the University of Victoria and the Victoria Conservatory of Music.

Nicholas Ciraldo GuitarPraised as “an exceptionally musical and accomplished guitarist,” Nicholas Ciraldo is a leader among his generation of American classical guitarists. Dr. Ciraldo has enjoyed numerous solo, chamber, and concerto performances throughout the United States, South America, and Europe, from Boston’s Jordan Hall to Berlin’s Berliner Dom to Brazil’s Teatro José Maria Santos. Ciraldo holds a BM degree from Indiana University, where he studied with Ernesto Bitetti and Luis Zea. He also holds an MM from the New England Conservatory of Music, where he studied with David Leisner and Eliot Fisk. He holds a DMA degree from the University of Texas at Austin, where he studied with Adam Holzman and received the Freeman Fellowship. His debut CD was released in early 2011. Nicholas is assistant professor of guitar at the University of Southern Mississippi.

Rachel Taratoot Ciraldo FluteRachel Taratoot Ciraldo is principal flutist of the Baton Rouge Symphony Orchestra and a freelance performer and teacher in the Gulf Coast region. She is first prize winner of the James Pappout-sakis, Flute Festival Mid-South, and Byron Hester Competitions, and she won third prize and the Award for the Best Performance of the Newly Commissioned Work in the National Flute Association’s Young Artist Competition. Ms. Ciraldo earned a bachelor of music degree from Indiana University, where she studied with Thomas Robertello and Jacques Zoon. She earned a master of music degree from Boston University, where she studied with Marianne Gedigian. She has also studied extensively with Jill Felber and Amy Porter.

Joaquín Clerch Guitar, Competition JudgeCuban guitarist Joaquín Clerch first studied guitar, music, and composition in Havana, graduating from the Art University of Havana in 1989. In 1990, Joaquín Clerch continued his studies at the Mozarteum University in Salzburg, Austria, with Eliot Fisk, and early music with Anthony Spiri and Nikolaus Harnoncourt. Joaquín Clerch has won competitions such as the Andres Segovia competition in Granada, the Heitor Villa-Lobos competition in Rio de Janeiro, and Printemps de la Guitare in Brussels. With the Orquesta Filarmónica de Gran Canaria he made the world premiere recording of two guitar concertos dedicated to him by Leo Brouwer (Concierto de la Habana, 1998) and Carlos Fariñas (Concierto, 1996), both also teachers of Joaquín Clerch. Since 1999, Clerch has held a professor-ship of guitar at the Robert Schumann University in Düsseldorf.

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Elise Groves Soprano Elise Groves, soprano, is an early music specialist based in the Boston metro area. A dedicated and versatile chamber musician, Elise is equally at home in the chant repertoire of Hildegard von Bingen, Dowland lute songs, and Bach cantatas, and especially enjoys performing repertoire off the beaten path. Elise is a chorister and cantor with the Choir of the Church of the Advent and has performed with Seven Times Salt, Meravelha, Exultemus/Newton Baroque, The Broken Consort, Grand Canonical Ensemble, and with many other chamber ensembles in the Boston, MA and Portland, OR areas. A native Oregonian, she received a BA and MA in music education from Oregon State University and an MM in early music performance from the Longy School of Music. www.elisegroves.com

Robert Hanson Guitar, Administrative DirectorRobert Hanson has earned a master of music degree at the New England Conservatory under the tutelage of Maestro Eliot Fisk. He did his undergraduate work at the Peabody Institute of the Johns Hopkins University where he studied under the guidance of Julian Gray, and has performed for and studied with Sharon Isbin of the Juilliard School while at the Aspen Music Festival. He has also performed in master classes with Roger Tapping, Benjamin Verdery, Eduardo Fernandez, Lukasz Kuropaczewski, and Franco Platino. Robert is an active performer throughout the East Coast. He has appeared in a variety of venues including the Ellington Theater as a concerto soloist and the Kennedy Center for the Performing Arts.

Liz Hayes Actor, Shakespeare DirectorLiz Hayes has appeared onstage with many Boston-area companies including the Lyric Stage, SpeakEasy Stage, Stoneham Theater, Underground Railway, Gloucester Stage, Boston Playwrights, Orfeo Group (founding artist) and New Repertory Theatre. She has been nominated for two Elliot Norton Awards and is a proud member of Actors’ Equity and SAG. Liz is also a dialect/accent coach for several companies and institutions including Emerson College, Whistler in the Dark, Underground Railway, and the Huntington Theatre Company. She is a graduate of Brown University and received her MFA from the Shakespeare Theatre’s Academy for Classical Acting. Liz teaches Shakespeare at the Walnut Hill School and is a member of the voice and speech faculty at Boston Conservatory.

El Mundo El Mundo is a chamber group dedicated to the performance of sixteenth- through nineteenth-century Latin American, Spanish, and Italian chamber music. Made up of some of the finest period instrument performers, El Mundo combines bowed strings with the rarely heard accompaniment forces of mixed guitars, lutes, and percussion, in a setting that recreates the distinctive Latin sound of the old and new world. With their flexible

instrumentation, El Mundo is adaptable to meet the changing needs of this diverse repertory with the appropriate flair and affect. With the addition of the wonderful singers such as Jennifer Ellis Kampani, and Nell Snaidas, El Mundo also performs exciting of cantatas, zarzuelas, romances, villancicos, and tonos humanos that range from sublimely sensual to lighthearted and folklike.

Raquel Fisk PianoMusic has always been a basic fact of life for 12-year-old pianist Raquel Fisk. At the same time that she began to play the piano (at the age of 4) she also became acquainted with numerous operas beginning with Mozart’s Zauberfloete, most of which she could soon sing by ear. Raquel has studied with Valentina Lass at NEC and more recently with the eminent pedagogue Niva Fried. In addition to classical music Raquel enjoys flamenco dancing, swimming, running track, and various foreign languages (Spanish, French, and German). She was recently selected to perform solo at Carnegie Hall’s Weill Hall in New York. Among other upcoming performances, she will play works by Bach and Mendelssohn as part of a gala celebration and benefit concert for the famous Bethlehem Bach Festival later this year.

John Gibbons HarpsichordThe American harpsichordist John Gibbons has received the Erwin Bodky Prize (1969), the NEC Chadwick Medal (1967), and a Fulbright Scholarship for study with Gustav Leonhardt in Amsterdam. John Gibbons is a distinguished keyboard artist and member of the Boston Museum Trio. He has performed as harpsichord and fortepiano soloist with major ensembles in the US and Europe, among them the Chamber Music Society of Lincoln Center, the New York Chamber Symphony, the Orchestra of the 18th Century, Philharmonia Baroque, and the Da Camera Society of Houston. He performs regularly at such festivals as those in Torino and Spoleto, Italy; Chamber Music Northwest; and the Aston Magna Festival in the Berkshires. John Gibbons teaches historical performance and chamber music at New England Conservatory, where he also directs the Bach Ensemble.

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Stefan Koim GuitarStefan Koim, born in 1986 in Hamm Westphalia, Germany, began a double music studies program (Music Education and Performance) at the Hochschule für Musik in Köln with Hubert Käppel in 2006. He studied at the Mozarteum in Salzburg from 2009 to 2010 in the class of professor Eliot Fisk. In 2011 he completed his studies in Cologne with two diplomas and in Salzburg with a BA degree. Fulbright and Rotary scholarships enabled him to study at NEC in Boston in 2011; he completed his master’s degree in Salzburg in 2013. Koim’s concert tours have taken him to Russia, Italy, Switzerland, Austria, and the USA. In the summer of 2013 his debut CD Royal releases, featuring works by Henze, Britten, and Dowland.

Tessa Lark ViolinWinner of the 2012 Naumburg Violin Competition, Tessa Lark is quickly establishing herself internationally as “a formidable artistic voice.” She has won many awards including first prize at both the Irving Klein and Johansen international string competitions. An avid chamber musician, Tessa Lark has performed at such summer festivals as the Steans Institute at Ravinia, Yellow Barn, and Music@Menlo. A native of Kentucky, Tessa also enjoys playing bluegrass and Appalachian music in recital. Ms. Lark completed her master’s degree in 2012 at the New England Conservatory under the tutelage of Miriam Fried and Lucy Chapman. Her previous teachers include Cathy McGlasson and Kurt Sass-mannshaus. Tessa plays a Tononi violin, made in 1675, on generous loan to her from the Ravinia Festival.

Adam Levin Guitar, Youth Guitarists Workshop CoordinatorAdam Levin has been praised by renowned American guitarist Eliot Fisk as a “virtuoso guitarist and a true twenty-first-century renaissance man with the élan, intelligence, charm, tenacity, and conviction to change the world.” The recipient of numerous top prizes, Adam Levin has been recognized by the Society of American Musicians, the Lake Forest Concerto Competition, Minnesota’s Schubert Competition, Boston GuitarFest, Concurso Internacional de les Corts para Jóvenes Intérpretes in Barcelona, Concurso Internazionale Di Gargnano, and Certamen Internacional Luys Milan de Guitarra in Valencia. Levin has performed with orchestra, string quartet, and various duo combinations. His debut record, In the Beginning, was lauded as “absolutely thrilling…will dazzle and entertain at every possible opportunity” by Minor 7th Acoustic Guitar Music Reviews. www.adamlevinguitar.com

Bruce Holzman Competition JudgeHolzman’s students have won many prestigious prizes in competitions worldwide, including Guitar Foundation of America Solo/Duo Competition, the Concours Internationale de Guitare of Paris, France, and the Incontri Chitarristici de Gargnano, Italy. Many of his students hold teaching positions at prominent Universities, Colleges and High Schools. Professor Holzman has been on the Artists’ Faculties of The Iserlohn International Guitar Symposium, Germany; Domaine Forget Academie of Music and Dance, Quebec, Canada; National Guitar Summer Workshop, New York Guitar Seminar at Mannes; Boston GuitarFest; and Toronto Guitarfest. He has also been an adjudicator for the guitar competitions throughout the world. Bruce Holzman was awarded a special Lifetime Achievement award at the Fifth New York Guitar Seminar at Mannes held in his honor, “El Maestro/Tradition of the Masters.”

Chad Ibison Guitar, 2012 Performance Competition Winner Chad Ibison is gaining attention throughout the United States as an emerging artist of great virtuosity. He has distinguished himself in many competitions, including first place at the 2010 A&M Guitar Symposium, the 2009 CSU Guitar Symposium, and the 2009 ECU Guitar Workshop Competition. In June of 2008, Chad performed as a semifinalist in the JoAnn Falletta International Guitar Concerto Competition. In 2007, Mr. Ibison was a semifinalist in the prestigious Guitar Foundation of America International Competition, and was selected as a concerto soloist with the CSU Philharmonic Orchestra. In 2010, Chad Ibison graduated with honors at Columbus State University under the tutelage of Dr. Andrew Zohn. Currently, Mr. Ibison is pursuing graduate studies at the University of Texas at Austin in guitar performance with professor Adam Holzman.

Stefano Kotsonis Roundtable ModeratorStefano began his career in broadcasting on the PBS current affairs program, The Kwitny Report, which was awarded the George Polk Award for Television Investigative Journalism. He moved overseas in 1989 to work as a freelance reporter and producer for the CBC, The European, USA Today, BBC, and others. He was named Amman Bureau Chief for CNN in 1991. He reported from the Caucasus, Middle East, Europe, and Africa, covering the Gulf War, Mideast Peace Process, the wars of Yugoslavia and the Somali famine. After returning to the United States in 1996, he reported for Reuters TV and produced TV documentaries, among them PBS’s “Islam: Empire Of Faith.” Since 2001, Stefano has worked in public radio, on WBUR’s Here & Now and On Point. Stefano first started playing guitar at 12, when he saw an older boy command the attention of all the girls at a wedding reception. The miracle is that he doesn’t play better after so many years of faithful love for the instrument.

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Enric Madriguera Composition Competition JudgeEnric Madriguera is in demand as a recording artist, performer, and teacher. He has appeared at the International Guitar Festival Rust in Austria, the Chamber Art Festival in Madrid and the Ramon Noble Guitar Festival in Mexico. Since forming a guitar duo in 1996, Madriguera and his wife, Sabine Rabe, have performed in festivals in the Americas and Europe. Madriguera is a cofounder and artistic director for the Texas Guitar Competition and Festival, and the Guitar Series at UT Dallas. He is a past advisory chair for the Dallas Classic Guitar Society and a current advisory member to the Allegro Guitar Society. Madriguera earned a master’s degree in humanities in 1984 and a PhD in humanities in 1993, both from UT Dallas.

Alexandra Manick ActorAlexandra Manick holds a bachelor’s degree in materials science and engineering with a humanities concentration in theater arts from MIT. As a student she was an active member of both the MIT Shakespeare Ensemble and Dramashop, and studied under professors Alan Brody and Janet Sonenberg. Past roles include Gwendolen Fairfax, The Importance of Being Earnest; The Leading Lady, Six Characters in Search of an Author; Dame Dorothy Browne, Hydriotaphia; Lady Macduff, Macbeth; and Ariel, The Tempest. In addition to acting in the greater Boston area, she is pursuing a career as an engineer for Bedford MA solar energy start-up, 1366 Technologies.

Lautaro Mantilla GuitarLautaro Mantilla is a guitarist, composer, and improviser from Bogota, Colombia. He has a BA in classical guitar from the Pontificia Universidad Javeriana (Colombia) where he studied with classical guitarist Carlos Posada, and an MM with academic honors in contemporary improvisation from the New England Conservatory of Music, where he studied with classical guitarist Eliot Fisk, guitarist and improviser Joe Morris, and composer and improviser Anthony Coleman. He has performed in venues such as Harvard University, MIT, the New England Conservatory, the Teatro Colon, Teatro Jorge Eliecer Gaitan, Biblioteca Luis Angel Arango, among others in the US and South America. He is currently a candidate for a graduate diploma at NEC, where he is studying with John Mallia and Carla Kihlstedt.

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Jennifer McNeil Administrative CoordinatorA native of Knoxville, Tennessee, Jennifer McNeil began playing guitar at the age of twelve under the tutelage of Lawrence Long. She continued her studies at Vanderbilt University, where she studied with John Johns (BM, 2006). She then spent five years in book publishing, acting as senior editor of nonfiction books at Thomas Nelson Publishers in Nashville. In 2011, Jennifer relocated to Boston’s New England Conservatory to pursue a master’s degree in guitar with Eliot Fisk, where she graduated with honors in 2013. She is the winner of a 2013 Belgian American Educational Foundation Fellowship, and will soon be relocating to Brussels to continue her musical studies. Alongside her life in guitar, she works as a freelance editor and writer for publishing houses, educational institutions, and journals.

Zaira Meneses Guitar, YGW Coord., Emerging Artist CuratorZaira Meneses’ musicality and charisma have delighted audiences on three continents. A native of Xalapa, Mexico, she came to the USA in 2001, where she has built a stellar reputation for her warm sound, limpid technique, and superb natural musicality while performing in many of the great concert halls of the world, including Boston’s Jordan Hall, New York City’s YMHA, Alice Tully Hall Lincoln Center and Salzburg’s Wiener Saal. She is Artistic Director of the new cross-disciplinary cultural initiative “Guitar and Friends,” for which she was awarded a special grant by the Albert Augustine Foundation. Her recent CD Latina became an internet sensation and sold out completely. A new edition of Latina with an expanded program booklet will be released soon at www.zairameneses.com.

Nigel North LuteNigel North studied classical music through the violin and guitar, eventually discovering the lute when he was 15. Basically self taught, he has developed a unique musical life as a teacher, accompanist, soloist, director and writer. For over 20 years he was Professor of Lute at the Guildhall School of Music and Drama, in London; from 1993 to 1999 he was Professor at the Hochschule der Künste, Berlin; 2005 to 2207 he was Lute Professor at the Royal Conservatory in Den Haag , Netherlands, and since January 1999 Nigel North has been Professor of Lute at the Early Music Institute, Indiana University. Recent recording projects have included, Robert Dowland’s “A Musical Banquet” with soprano, Monika Mauch, for ECM (2008), Lute Songs with tenor Charles Daniels for ATMA (2007) and the Lute Music of Robert Johnson for Naxos (2010).

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Nuria Orbea SopranoNuria Orbea was born in Bilbao (Spain), where she began her music education at the Music Conservatory, graduating in Lied and Oratory at the Mozarteum University in Salzburg, under the guidance of Mitsuko Shirai, Hartmut Höll and Gudrun Volkert. She sung Madame Butterfly (Cugina) at the Chimgau Musikfestival (Germany); and in Bilbao Opera House Rigoletto (Giovanna), Dialogues des Carmelites (Sour Mathilde), La Bella Addormentata (Regina), Elektra (Aufseherin), Ines (Trovatore), Imelda (Battaglia di Legnano) and Elena (Aroldo). Orbea is an celebrated artist in the field of lied and oratorio, and a regular guest in concert halls worldwide. She has recorded under the labels Verso and Capella, and her concerts have been recorded and broadcasted by the Catalan Radio, Spanish National Radio, and France Mezzo Television.

Tami Papagiannopoulos Soprano Soprano Tami Papagiannopoulos is pursuing an MM degree in Vocal Performance from New England Conservatory where she studies with Lisa Saffer. Tami began her voice studies six years ago at SUNY Schenectady County Community College where she received an AS in music performance. Continuing her studies at SUNY Fredonia, she received a BM in music performance and studied with Patricia Corron. In her most recent performance, she sang the role of Miles in Benjamin Britten’s The Turn of the Screw at NEC under the baton of Douglas Kinney Frost. Past operatic scene work includes Humperdinck’s Hansel and Gretel, Mozart’s Le Nozze di Figaro, and Rossini’s Il Barbiere di Siviglia. She has performed in master classes with Susanne Mentzer, Donna Loewy, and Stephen Swanson.

Elena Papandreou Competition JudgeElena Papandreou (b. 1966) studied the guitar with Evangelos Boudounis at the National Conservatory in Athens and with Gordon Crosskey at the Royal Northern College of Music, England. She has been first-prize winner in three international competitions: Maria Callas (Greece), Gargnano (Italy), Alessandria (Italy) and the second-prize winner of the Guitar Foundation of America Compe-tition. Papandreou now teaches at the University of Macedonia in Thessaloniki and at the National Conservatory in Athens. Leo Brouwer said about her, “If you want to hear music of the highest level of interpretation with poetical perfection you must hear Elena Papandreou.” The Washington Post called her “a poet of the guitar” and the Greek newspaper Ta Nea called her “one of the greatest in-terpreters [...] the critic becomes silent … when the Music begins.” www.elenapapandreou.gr

Apostolos Paraskevas Composition Competition JudgeApostolos Paraskevas is a Grammy-nominated composer/guitarist and recently an award winning Film Director/Producer. Classical Guitar Magazine (London) acknowledged him as the only guitarists ever to have a major orchestral piece performed at New York’s Carnegie Hall, and by the international press as the only musician who performed there in a Grim Reaper’s outfit! Dr. Paraskevas, a Lukas Foss protégé, has been for decades a multi-published recording artist. He received five First Prizes in International Composition Competitions and is the founder and Artistic Director of the International Guitar Congress/Corfu/Greece. He is an Associate Professor of Composition at Berklee College of Music and is included in the State of the Axe publication by famous photographer Ralph Gibson as one of 80 most innovative living guitarists.

Nicholas Phan TenorNamed one of NPR’s Favorite New Artists of 2011, Nicholas Phan appeared in concert this season with the New York Philharmonic, Cleveland Orchestra, Philadelphia Orchestra, San Francisco Symphony, Cincinnati Symphony, the Los Angeles Chamber Orchestra and at the Bolshoi. Mr. Phan’s two albums of all Benjamin Britten music, Winter Words and Still Falls the Rain (AVIE) were both released to critical acclaim, and his growing discography also includes the Grammy-nominated recording of Stravinksy’s Pulcinella, with Pierre Boulez and the Chicago Symphony Orchestra (CSO Resound). He is a graduate of the University of Michigan, the Manhattan School of Music, and the Aspen Music Festival and School, and is an alumnus of the Houston Grand Opera Studio and the Glimmerglass Opera Young American Artists Program.

Will Prapestis BaritoneWill Prapestis performs frequently as a soloist and ensemble member throughout New England. He recently made his profes-sional opera debut with Helios Opera as Indamoro in Cavalli’s Artemisia. Will has performed a number of operatic roles, including Marcello in Puccini’s La Bohème, Papageno in Mozart’s Magic Flute, and Father in Humperdinck’s Hansel and Gretel with the Hillman Opera, as well as the eponymous role in Mozart’s Don Giovanni. Will is also a bass player in the Boston and New York City pop music scenes, performing with as many as five bands as a bass guitarist, vocalist and arranger, and session artist. He is a native of Elmira, NY and he earned his BM in Music Performance at SUNY Fredonia.

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Robert Price Electric GuitarRob Price is from Massachusetts and has been encouraged by his family to study and to play music his whole life. A classically trained violinist (who also dabbled in viola and piano), he switched to guitar after moving to New York City in 1990. He has played in numerous experimental and improvised music ensembles and was a founding member of the avant-rock band Dim Sum Clip Job, which recorded an album for John Zorn’s Avant label. Recently Price has been releasing recordings of his music, both composed and improvised, on his own Gutbrain Records label. He has performed at the What Is Jazz? Festival and the Boise Experimental Music Festival and plays regularly in the New York City area.

Fiel Sahir Festival AssistantFiel Sahir began studying the classical guitar from an early age under the instruction of his father, Rene Sahir. He is currently a guitar student at the New England Conservatory of Music under the esteemed guitar virtuoso Eliot Fisk. He has performed in a master class for Oscar Ghiglia and studied with Zaira Meneses and Bruce Holzman. On YouTube, where he is known as Lifeisguitar, he has recorded various pieces from classical guitar repertoire to the Beatles, and continues to show the versatility of the guitar to his friends, family, and the world. He is also a polyglot and language enthusiast, speaking Indonesian, English, French, and Spanish, and is currently tackling Mandarin on his spare time.

Alejandro Simoes ActorBoston credits include Recent Tragic Events, Aunt Dan and Lemon (Whistler in the Dark); Hideous Progeny, Melancholy Play (Holland Productions); Paperbag Princess, Shh! (New Exhibition Room); Travesties, Romeo & Juliet, Misalliance (The Publick Theatre); Titus Andronicus (Actors’ Shakespeare Project); The Taming of the Shrew, Macbeth (Commonwealth Shakespeare Co.); King John (Shakespeare & Company); Olly’s Prison; Dido, Queen of Carthage (A.R.T.). He trained at Shakespeare & Company, Southwick Studio, and Northeastern University.

William Riley Young Guitarists Workshop CoordinatorCurrently a lecturer and the director of classical guitar studies at the University of Massachusetts Dartmouth, William Riley also teaches at NEC’s Preparatory School and directs the Childbloom Guitar Program of Boston. Riley has won top prizes and been a finalist and semifinalist in several national and international solo competitions, including the ECU, Portland, and GFA International Competitions. He is active as a teacher, soloist, camber musician, and adjudicator. In 2010 he joined the board of directors for the Boston Classical Guitar Society, where he serves as newsletter editor. Riley holds a BM degree (cum laude) from The University of Texas at Austin, studying under Adam Holzman, and an MM (with honors) from New England Conservatory, where he studied with Eliot Fisk.

Richard Savino Competition JudgeRichard Savino’s performances and recordings have been praised by critics throughout the world. As a continuo player and accompa-nist, Mr. Savino has worked with some of the world’s most impor-tant performers and is a principal performer with major orchestras and opera companies across the US. From 1986 to 1998 Mr. Savino directed the CSU Summer Arts Guitar and Lute Institute. Presently he is director of the ensemble El Mundo, and in 1995 and 2005 he was Visiting Artistic Director of the NEH sponsored Aston Magna Academy and Music Festival at Rutgers University. He is faculty at San Francisco Conservatory of Music and at CSU Sacramento where he has been the only music professor to receive “outstanding and exceptional” and “best” sabbatical awards. Mr. Savino’s instruc-tors have included Andres Segovia, Oscar Ghiglia, Eliot Fisk, Albert Fuller, and Jerry Willard. He received his doctorate from SUNY at Stony Brook.

Maarten Stragier Guitar; New Music CuratorBelgian guitarist Maarten Stragier’s refreshing take on concert programming and a passion for contemporary music take his performances from the original to the unusual. He has won first prizes in the Axion Classics competition, the Hasselt Competition for Musical Youth and is a recipient of the 2010 Ingeborg Köberle Award. Maarten has brought new works to audiences both in Europe and the US, performing solo and in affiliation with the Ictus ensemble, Radius, the Callithumpian Consort, Sound Icon, The Boston Modern Orchestra Project, the Mimesis Ensemble, the Ludovico Ensemble, and the East Coast Contemporary Ensemble. Maarten has recorded for Dorian records, BMOP/sound, and Collectief Debonair, and has studied with Eliot Fisk, Oscar Ghiglia and Antigoni Goni. He is currently a DMA candidate at NEC.

Musicians and Festival Profiles continued

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Eduardo Antonio Ramos Suárez Tenor Eduardo Antonio Ramos Suárez, tenor, is a recent graduate of the New England Conservatory. Prior to studying at NEC, he attended the State University of New York at Fredonia, where he received a bachelor’s degree in vocal performance and arts administration. At Fredonia he performed the roles of Gomatz in Mozart’s Zaïde, Elder Gleaton in Floyd’s Susannah, and Cochenille in Offenbach’s Les Contes d’Hoffmann, among others. His roles at the New England Conservatory include Silvio in Bizet’s Doctor Miracle and Don Miguel de Panatellas in Offenbach’s La Périchole.

Devin Ulibarri Competition CoordinatorDevin Ulibarri is a versatile musician with compositions published in Conceptions Southwest magazine, a range of teaching experi-ence, and a BM in Classical Guitar Performance from the University of New Mexico. He recently earned his master’s degree at the New England Conservatory under the tutelage of world-renowned musician Eliot Fisk. Devin Ulibarri’s multitude of talents includes fluency in the Japanese language, and he has premiered works for such promising Japanese composers as Emi Inaba from Berklee College of music. An accomplished and innovative teacher, Ulibarri recently published an article, co-authored with Larry Scripp and Rob Flax, titled “Thinking Beyond the Myths and Misconceptions of Talent,” which Tanglewood’s Allen Fletcher called, “an immensely consequential investigation of an issue at the heart of society, and a call to effective action.”

Moisès Fernández Via Piano, Competition JudgeRecently praised by Gramophone magazine as an “artist of coruscating verve and charm,” Barcelona-born pianist Moisès Fernández Via is at the forefront of a new generation of classical music performers. Critics refer to him as a singular creative artist beyond disciplines, voluntarily distanced from the virtuoso soloist figure. Born in 1980, he began his musical education at the age of ten. He was an acclaimed winner of the Scarlatti International Piano Competition in Naples and the Richmond Piano Competition in Boston, and was nominated to the Arthur W. Foote Award from the Harvard Musical Association. He studied at the Mozarteum University in Salzburg, the Buchmann-Metha School of Music in Tel Aviv, and Boston University, and has worked significantly with Imre Rohmann, Robert Levin, and Maria João Pires.

HuiMin Wang PianoHuiMin Wang studied with Bulgarian pianist Krassimira Jordan, first in Vienna and later at Baylor University. After receiving a master’s degree, Wang completed a graduate diploma in piano performance at NEC under Veronica Jochum. As an active collaborative artist, Wang has performed in the United States, China, and Taiwan. She has appeared live on WGBH Boston and recorded for both NPR’s Alamo Classics and Boston Records labels. Before returning to the Boston area, she was staff pianist and opera coach at the Hartt School at the University of Hartford. Since 1998, Ms. Wang has been a member of the piano faculty at South Shore Conservatory where she is past piano department chair, dean of students, and advisor to the president.

Robert Ward Guitar, Administrative Director (2009, 2010)Robert Ward holds degrees in guitar performance from the San Francisco Conservatory of Music, BM, and the University of California San Diego, MA. In Paris, he premiered three works written for him at the famed Theatre de Renalgh. At the fourth International Guitar Congress in Corfu, Greece he was a featured performer and teacher. In San Diego, Mr. Ward was active with both the La Jolla Playhouse and the San Diego Public Theater, as well as participating in El Cimmaron by Hans Werner Henze. In Boston, he produced and performed in a concert memoriam to Andres Segovia. Mr. Ward has been a soloist with the New England Philharmonic, the Belmont Symphony Orchestra, the Northeastern Symphony, the Bridgewater Sinfonia, the Mozart Society Orchestra at Harvard, and the Newton Symphony Orchestra. Robert Ward is a faculty member at Northeast-ern University, The Brookline Music School, and The New School of Music.

Please visit bostonguitarfest.org for full biographies.

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Support Boston GuitarFestDear Friend of GuitarFest,

Boston GuitarFest is the dream of visionary guitar virtuoso Eliot Fisk. While the main focus is always on the classical guitar, the festival also aims to set the instrument within a broader musical, cultural, and social context. Every year, GuitarFest gives audiences the opportunity to hear world-class performers and teachers, as well as providing students with great educational experiences. While every effort is made at Boston GuitarFest to keep prices as low as possible, our fees inevitably exceed the means of some of our most talented students and festival participants. We are dependent upon the good will of our generous donors to help us have the ability to offer scholarship assistance so that the programs we work all year and every year to create can reach as many of the truly qualified as possible. Your tax-deductible gift can help us offer the unforgettable experience of Boston GuitarFest to deserving young people from all over the globe. We thank you in advance for your kind generosity and for sharing in Eliot Fisk’s vision. Let’s bring the music of the classical guitar to a wider audience!

SEND THIS FORM AND CHECK PAYABLE TO:

NORTHEASTERN UNIVERSITY

ATTN: GUITARFEST

DEPT. OF MUSIC

351 RYDER HALL

BOSTON, MA 02115

NEW ENGLAND CONSERVATORY

ATTN: GUITARFEST

DEVELOPMENT OFFICE

290 HUNTINGTON AVE.

BOSTON, MA 02115

OR

Giving LevelsMaestro: $10,000 or moreBenefactor: $5,000 to $9,999Patron: $1,000 to $4,999Supporter: $500 to $999Friend: up to $499

SUPPORT BOSTON GUITARFEST

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5150

GuitarFest extends warm thanks to our generous donorsReflects gifts received before June 1, 2013

Hiksdal Fund

Russell Cleveland

College of Arts, Media and Design

New England ConservatoryEliot Fisk: Artistic DirectorRichard Feit: Dean of Performance StudiesTom Novak: Dean of StudentsIndra Raj: Community and Special Performances Coordinator Zaira Meneses: Young Guitarists Workshop CoordinatorWilliam Riley: Young Guitarists Workshop Coordinator Adam Levin: Young Guitarists Workshop CoordinatorCatherine Cramer: Founder, Thomas Hiksdal Scholarship FundRobert Hanson: Administrative DirectorJennifer McNeil: Administrative CoordinatorDevin Ulibarri: Competition DirectorRobert Bekkers: Production ManagerFiel Sahir: Festival Assistant

Northeastern UniversityAnthony De Ritis: Chair, NU Music Department; Composition Competition DirectorArthur Rishi: Concert Coordinator, NU Music DepartmentMaureen Ton: Website, Print, and Marketing Design, NU Music DepartmentAfshaan B. Alter: Administrative Assistant, NU Music Department

Boston GuitarFest would like to also give thanks toDeborah Boldin, Chameleon Arts Ensemble, Richard Cocco, Eric Cocco, Elena

Cook, Brian Dixon, Virginia Eskin, Patty Flint, Francesca Giannetti, D. Javier Gomez,

Gardiner Hartmann, Ian Headley, Luanne Kirwin, Charlie Kline, Northeastern

University Library, Dr. Karl Wilhelm Pohl, Cara Veilleux, Stephan Connor, Catherine

Cramer (Founder, Thomas Hiksdal Scholarship Fund)

Special thanks to GuitarFest VolunteersSatik Andriassian, Raffi Donoian, Cheryl Eggert, Scott Hacker, Don Hague, Paul

Lohr, Noah Lubin, Jared Maynard, Alexander Prezzano, Helen Saarniit, Bob Ward,

and Saxon Schelfhaudt

Special Thanks to Boston GuitarFest Staff

Robert E. Davoli and Eileen L. McDonagh

Charitable Foundation

52 53

N E W E N G L A N D CO N S E R V AT O R Y

Recognized nationally and internationally as a leader among music schools, New England Conservatory offers rigorous training in an intimate, nurturing community to 720 undergraduate, graduate, and doctoral music students from around the world. Its faculty of 225 boasts internationally esteemed artist-teachers and scholars. Its alumni go on to fill orchestra chairs, concert hall stages, jazz clubs, recording studios, and arts management positions worldwide. Nearly half of the Boston Symphony Orchestra is composed of NEC trained musicians and faculty.

The oldest independent school of music in the United States, NEC was founded in 1867 by Eben Tourjee. Its curriculum is remarkable for its wide range of styles and traditions. On the college level, it features training in classical, jazz, Contemporary Improvisation, world, and early music. Through its Preparatory School, School of Continuing Education, and Community Collaboration Programs, it provides training and performance opportunities for children, pre-college students, adults, and seniors.

NEC presents more than 600 free concerts each year, many of them in Jordan Hall, its world-renowned, 106-year-old, beautifully restored concert hall. These programs range from solo recitals to chamber music to orchestral programs to jazz and opera scenes. Every year, NEC’s opera studies department also presents two fully staged opera productions at the Cutler Majestic Theatre in Boston. www.necmusic.edu

N O R T H E A S T E R N U N I V E R S I T Y

Founded in 1898, Northeastern University is a private research university located in the heart of Boston. Northeastern is a leader in interdisciplinary research, urban engagement, and the integration of classroom learning with real-world experience. The university’s distinctive cooperative education program, where students alternate semesters of full-time study with semesters of paid work in fields relevant to their professional interests and major, is one of the largest and most innovative in the world. The University offers a comprehensive range of undergraduate and graduate programs leading to degrees through the doctorate in six undergraduate colleges, eight graduate schools, and two part-time divisions. www.northeastern.edu

The Department of Music at Northeastern University is part of the newly established College of Arts, Media & Design, and offers concentrations in Music Industry, Music Technology, and Music History & Analysis. Faculty in the Department are leaders in fields such as electronic music composition, musicology and ethnomusicology, recording technology, copyright law, music theory, and multimedia. The Department has also been a center for cultural diplomacy, and has hosted cultural exchanges and symposia in conjunction with the US Department of State and UNESCO. Alumni of the Music Department have gone on to careers in the record industry, arts administration, broadcast media, music software, and education. www.music.neu.edu The Fenway Center is a mid-sized venue located at 77 St. Stephen Street, on the corner of St. Stephen Street and Gainsborough Street. This performance center was formerly a church and has recently undergone major renovations including the installation of a large-screen digital projector, professional light and sound systems, and a ticket booth. This building has excellent acoustics and is an ideal place for performances. The Fenway Center plays hosts to many functions, including choral groups, dance teams, lectures, orchestral ensembles, and community church services on Sundays.

About Us

In May of 2002 my husband Thomas Hiksdal

and I went on a wonderful trip to Spain. We

ended up spending most of our time in the

beautiful and historic city of Granada. We were

walking down one of the main boulevards one

morning and I happened to see a poster

advertising a guitar concert. The name “Eliot

Fisk” jumped out at me. Some years ago I

owned a music store on Cape Cod, and we

bought and sold classical guitars, so I knew a bit about that world.

Enough to know that a chance to hear Eliot Fisk — one of the world’s

best — was not to be missed. And hearing him in Granada was just

icing on the cake! The concert was scheduled for the next night, at the

Auditorio Manual de Falla, on the grounds of the Alhambra. We

bought our tickets.

The next night we walked up the hill, through the Alhambra gates,

to the Auditorio, a (relatively) contemporary concert hall. We then

were treated to the most incredible concert — a solo performance by

Eliot Fisk, alone on the stage with his guitar, holding us and the rest

of the packed hall completely transfixed. Thomas and I were almost

speechless as we walked back down the hill afterwards in the lovely

May evening. From then on, for the rest of his life, Thomas referred to

this concert as the apex of a lifetime of listening to music. The best,

the most profound, the most meaningful.

Later, when I was thinking of an appropriate way to remember

Thomas, and thinking about what was most meaningful to him, I

of course thought of music. Thomas played many instruments, and

went to hear live music as often as he could — and, perhaps most

presciently, the design of our house (Thomas was an architect)

centered around music, around our beautiful Steinway, and

around having a space available to present concerts of live music. I

immediately thought — well, if it’s music for Thomas, then I have to

start with the musician who spoke to Thomas the loudest — Eliot Fisk.

And Eliot said yes.

With Eliot’s guiding determination to use our energy and emotion to

create something lasting, we then joined forces to create the Thomas

Hiksdal Scholarship Fund of the Boston GuitarFest.

—Catherine Cramer, Sept. 2009

Donations to the Thomas

Hiksdal Scholarship Fund

Barbara Jones

Prosser Gifford

Bernice Cramer

Susan and Peter Morgan

Steve Connor

Trish White

Ida Little and Michael Walsh

David Cramer and Christine Wiita

Ken LaBrecque

Robert Hanson

Mr. and Mrs. William Mackey

Robert Wyatt

Cecily Selby

Jeanne Guillemin-Meselson

Robert and Carolyn Connor

David S. Isenberg

Jelle Atema

Sally Casper and Gary Borisy

Marilyn McMillan

Bruce Telzer and Leah Haimo

John P. and Yvonne Young Feher

Thomas Hiksdal Scholarship Fund

Northeastern University (Green, E Train)

Ruggles (Orange)

Symphony

(Green, E Train)M

ass. Ave.

(Orange)

Columbus Ave.

Massachusetts Ave.

Gainsborough St.

Cam

den St.

St. Botoph St.

Huntington Ave.

YMCA

Curry StudentCenter

Ryder HallNU Music

Matthews

Arena

Symphony

Hall

Starbucks

UNO’s

P

P

ST. Stephen St.

Fenway Center

EspressoRoyale

Cafe

Boloco

Fors

yth

St.

Northeastern University

Carter Playground

N

Leon

St.

77 Saint Stephen St.Questions?Contact Robert Hansonrobert@roberthansonguitar.com(202) 696-3159

Jordan Hall

Williams Hall

Keller Room

290 Huntington

St. Botolph

Pierce Hall

241 St. Botolph St.

Leon

St.

InternationalVillage1175 Tremont St.

Tremont St.

EARLY BIRD ANNOUNCEMENT

BOSTON CLASSICAL GUITAR SOCIETYProudly Presents

ARTIST SERIES 2013-14★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★

GFA Competition Winner

Vladimir GorbachFriday, October 4, 2013

Anabel Montesinos & Marco TamayoFriday, November 22, 2013

Duo MelisFriday, February 14, 2014

Manuel BarruecoFriday, April 4, 2014

Roland Dyens & New England Guitar EnsemblesFestivalSaturday, April 26, 2014

All Concerts begin at 7:30 pmAll events at First Lutheran Church of Boston, 299 Berkeley Street, Boston, MA

Go to www.bostonguitar.org for more information

GFestivalAd 2013:GuitarFest 5/13/13 9:47 PM Page 1

Boston GuitarFest would like to thank La Bella Strings for their years of support.

www.labella.com

Honoring Robert Paul Sullivan on the occasion of his retirement

Boston GuitarFest honors beloved guitar professor Robert Paul Sullivan for his years of artistry and leadership in the guitar department at New England Conservatory. A lecturer and teacher at NEC for decades, Bob has been a source of support for generations of students. In addition to a lifetime of excellence on the classical guitar, Bob has mastered a menagerie of plucked stringed instruments, including the vihuela, lute, jazz guitar, and mandolin.

Bob is an esteemed performer in solo, chamber, and orchestral capacities in the New England region, as well as other parts of the country and in Europe. His performances have included the Boston Symphony Orchestra, most recently the opening Gala concert of Mahler’s Symphony No. 8 with conductor James Levine in Boston and New York; Boston Celebrity Series; Alea III; New Hampshire Symphony Orchestra; Rhode Island Symphony Orchestra; Philadelphia Symphony Orchestra; Boston Ballet; Boston Opera Company; Musica Viva, and others.

Sullivan has performed with Broadway productions of Chicago, Ragtime, Fiddler on the Roof, and Man of La Mancha, as well as performing Irish folk music with the band Jug O’ Punch, and dueting, since the late 1950s, with Thomas Greene. He has also participated several times, as both a member and as president, of the jury at the Emilio Pujol Classical Guitar Competition in Sardinia, Italy. During the summer season, Sullivan served as a conductor for the American Mandolin and Guitar Summer School.

Students and faculty alike will miss Bob’s unmistakable Boston accent in the halls, as well as his good humor and no-nonsense insight. We wish you a joy-filled and restful retirement!

Zaira Meneses Devin UlibarriDirector Public Relations

A revolutionary new concept in musical outreach. Guitar and Friends presents young artists at the beginning of their careers in a wide variety of venues throughout the Boston Area. For more information and complete upcoming concert schedule go to

guitarandfriends.org guitarandfriends@gmail.com

G U I T A R & F R I E N D S

Oscar Ghiglia and Eliot Fisk at “The Grottos,” Aspen, Colorado (1975). Photograph by Charles Abbott.

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