Announcement of the Guitar Atelier in Lodi this summer
Chitarra, prende il via la stagione dell’Atelier
18 gennaio 2016
Ci sono uno scozzese, un azero, un argentino, un paraguaiano, un italiano e un americano… No, non è l’incipit della classica barzelletta, bensì il cast della nuova Stagione internazionale di chitarra classica, la prestigiosa e fortunata rassegna, giunta all’11esima edizione, organizzata dall’Atelier chitarristico laudense capeggiato da Mario Gioia. Anche nel 2016 la città di Lodi ospiterà alcuni tra i migliori esponenti mondiali delle sei corde, tra i quali autentici fuoriclasse come Paul Galbraith, Rovshan Mamedkuliev, Victor Villadangos (in foto) e Marc Teicholz. «Come sempre il livello sarà altissimo – commenta soddisfatto Mario Gioia -. I concerti della Stagione raggiungono quasi sempre il tutto esaurito: lo scorso anno abbiamo registrato spettatori provenienti anche da Francia e da Austria. Spesso in sala ci sono tantissimi milanesi: per questo abbiamo spostato gli appuntamenti alla domenica pomeriggio per facilitare gli spostamenti di chi arriva dalla metropoli»….
L’edizione si chiuderà con il concerto di un altro mostro sacro come l’americano Marc Teicholz: l’appuntamento è in programma l’11 settembre all’Aula Magna del Verri.
A great many thanks to Marc Teicholz and Michael Partington for a stunning concert remembering the life of Martha Knight Catizone in the church of Santa Maria del Camino in Carrion de los Condes.A celebration of the immortality of human emotion expressed through wood, glue and strings. Thank you, thank you, thank you.A musical scholarship has been created in her name and the recipient for 2016 is Summer Ott from Seattle Washington. Bravo !
Posted by Caminoartes on Sunday, June 28, 2015
This beguiling album is the first for Delos by brilliant American coloratura soprano Laura Claycomb. Best-known for her work in opera, she explores here an entirely different aspect of her artistry: a more intimate and personal interpretive approach featuring assorted art songs with guitar. And she has found an ideal partner in guitar wizard Marc Teicholz: her longtime collaborator and musical accomplice.
Our dazzling, yet subtly interactive duo undertakes a broad-ranging program of vocal music, either written originally for voice and guitar, or with accompaniments transcribed (mostly by Marc) for guitar. The array ranges from English-language settings by American eclectic Marc Blitzstein and British icon William Walton through treatments of French texts by Georges Bizet, Claude Debussy and the Hungarian exile Mátyás Seiber to Spanish and Portuguese settings by Manuel de Falla and Heitor Villa-Lobos.
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We’re very happy to announce that O SACI-PERERÊ, concerto for guitar and orchestra will be premiered on Jan. 14th, 2016 at the San Francisco Conservatory. #Marc Teicholz, guitar #Nicole Paiement, conductor
I am commissioning a guitar concerto from the well-known Brazilian composer Clarice Assad (http://clariceassad.com). Clarice is a uniquely qualified composer for this project. She has extensive experience writing and arranging for orchestra (she was the composer-in-residence for the New Century Orchestra) as well as writing concertos (she has, for example, written two for violinist Nadja Salerno-Sonnenberg.) She also has an intimate knowledge of the guitar (she is the daughter of the legendary guitarist Sergio Assad and has written a double concerto for the Assad duo http://www.youtube.com/watch?v=FMYCoqTPCVY.)
Clarice has chosen for her inspiration a mischievous Brazilian folkloric character named Saci (http://en.wikipedia.org/wiki/Saci_(Brazilian_folklore). This smelly one legged imp with holes in his hands is responsible for many pranks but can also turn into a bird that sings a melancholy song (which is featured in the 2nd movement.) I met with Clarice in NY and she showed me some of the themes that she is going to use for the piece. The music is already bristling with humor, sadness and menace. Sergio Assad has also offered his extraordinary expertise to edit the guitar part.
I will premiere this concerto in the fall of 2015 at the San Francisco Conservatory of Music (where I am a member the classical guitar faculty, http://www.sfcm.edu/web/sfcm/faculty/teicholz.aspx) with my wonderful colleague, conductor Nicole Paiement (http://nicolepaiement.com/index.html) and the New Music Ensemble. This would be a very important premiere for the SF Conservatory as well as unique educational opportunity for the students to work with such a talented composer in the launching of a new work.
The performance is also notable in its collaboration with the Harris Guitar Foundation-a non profit organization dedicated to supporting the classical guitar in the Bay Area. The HGF has donated several rare and valuable vintage guitars to the SF Conservatory and I would play one of these exceptional guitars for the performance.
It is a rare opportunity to find a composer who is equally comfortable writing for both orchestra and the guitar. That is perhaps one of the reasons that few guitar concerti are performed. It is my hope and belief that many guitarists will champion this concerto in the future and we will have a lasting contribution to our repertoire.
Guitar Salon says – “Quite a few people emailed to ask if Marc’s Chopin transcription was available, so I asked Marc and he was kind enough to provide it to us. The image is pretty small, but you can see and download the pdf here – prelude.”
…from San Francisco Classical Voice
San Francisco Performances
“He gave an exquisitely sensitive and skillful recital at the Conservatory on Saturday, featuring new transcriptions, music associated with Segovia, and extraordinary contemporary compositions.”
“Teicholz used a sensuous tone and a fluid rubato to make Impromptu No. 3 redolent of profound longing. His brilliant technique and natural musicianship perfectly captured the insouciance and grace of Impromptu No. 2.
The Chaconne from J. S. Bach’s Partita in D Minor, BWV 1004, originally written for solo violin, has been considered one of the greatest tests of a guitarist’s technique and musicianship since it was first performed by Segovia in 1935. Teicholz used color, dynamics, and a finely honed sense of timing to bring out the increasing tension, chromaticism, melodic span, and rhythmic values of the opening. The daunting 32nd-note scales were effortlessly executed and the transition to the internal major key section was exquisite. Teicholz is a skilled yet self-effacing performer with a superb sense of musical structure. He gave an exemplary Chaconne performance.”
The second half of the recital was dedicated to contemporary music for the guitar and began with Sergio Assad’s compelling Sonata. Teicholz clearly articulated the first movement’s exuberant references to Leo Brouwer’s Sonata, the heartfelt melody of the second movement, and the breathtaking perpetual motion of the third movement, all while maintaining absolute clarity in a contrapuntal texture that at times was so complex it brought to mind the Assad Duo. The composer was present and on his feet applauding Teicholz’s bravura performance as soon as the last rasgueado chord was stopped.”
This CD features 18 waltzes played by Marc Teicholz, performed and recorded on 18 different guitars built between 1867 and 2004, all supplied by GSI, and recorded here at the GSI facility in Santa Monica, CA. 24 page booklet includes notes and commentary from both producer David Collett and performer Marc Teicholz, which provides historical and anecdotal details on each instrument as well as insight into the selection process as to how each guitar was “paired” to its piece of music.