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Rondo Op.

2 La Gaubança Violin Partita II in D Minor Asturias


GUITAR FOUNDATION OF AMERICA
Dowland Allegretto, Revealing
Study No. the10 color
Caroraof Scherzo Vals Plainte INTERNATIONAL
Caprice no. 6 Milongamasterpieces
Calata ala spagnola
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1947. en Skaï Cancion del CONVENTION & COMPETITION
US
Galliard Passepied in A Major AGrande
U G T I N Ouverture
E Op. 61 Ejercicio No. Frost School of Music
9 Violin Partita II in D Minor Torre Bermeja Rondo Op. 2 Sonata

2019 Guitar Foundation of America International Convention & Competition


est. 1947

ST S
RING
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Tango Suite Rondo a First
la nylon
Turca
stringCanarios Scherzo-Vals Aire Vasco
for classical guitar.
First choice of past, present, and future masters.

29 from Op. 20 El Noi de la Mare La Rossignol Suite in D Minor


Come Away Tombeau sur la mort de M. Comte de Logy Valses

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1 Sonatina méridonal Danse Espagnole Grand Solo, op. 14 Fantasia in
G Major, P. 73 24 Caprichos de Goya Summer Garden Suite Elegy
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E Minor Lachrimae Pavan Fugue in A Minor, BWV 1000 Aria detta la
Frescobalda Duo No. 2 in G Major, Op. 34 3 Piezas Españolas
Fandanguillo Sonata in E Minor, K.11 Cavatina Sunburst La Vida UNIVERSITY OF MIAMI
MIAMI, FL
JUNE 17–22, 2019
La Huida de los Amantes por el Valle de los Ecos Saltarello Felicidade Hosted by
Dr. Federico Musgrove Stetson
and Professor and Program Director
Rafael Padrón
Suite in G Minor, BWV 995 La Vide Breve Como llora una Estrella El
Colibri Concerto in D Major for Lute El Diablo suelto Gnossiennes
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Cleveland Institute of Music, Mixon Hall

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GUITAR FOUNDATION OF AMERICA
INTERNATIONAL
CONVENTION & COMPETITION
University of Miami
MIAMI, FL
JUNE 17–22, 2019
Hosted by Dr. Federico Musgrove Stetson
and Professor and Program Director Rafael Padrón

Featured Artists:
Manuel Barrueco
Brasil Guitar Duo
Marcin Dylla
Yamandu Costa
Raphaël Feuillâtre
Duo Sonidos
Petrit Ceku
Zoran Dukic
Les Freres Meduses
Iliana Matos
Raphaella Smits
Laura Snowden
Rafael Padrón
Irina Kulikova

The
Augustine
Foundation
GFA Board of Trustees

2019
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL
CONVENTION & COMPETITION
University of Miami
MIAMI, FL
JUNE 17–22, 2019
Hosted by Dr. Federico Musgrove Stetson
and Professor and Program Director Rafael Padrón

Soundboard

Soundboard Scholar
University of Miami Campus Map 8

MIAMI, FL JUNE 17–22, 2019


CONVENTION & COMPETITION
INTERNATIONAL
GUITAR FOUNDATION
Youth Social Event | Vendor Expo 9
Vendor Expo: Floor Plans 10

Private Lessons 12

Set Piece Composer: Pat Metheny 15

MONDAY June 17 C: 20-21


TUESDAY June 18 TW

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2019
WEDNESDAY June 19 TW:
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TABLE OF CONTENTS
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THURSDAY June 20 TW:
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ICAC
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9
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FRIDAY June 21 TW
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SATURDAY June 22 TW:
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IEC
IYC
M:
ICAC

84

KEY: C– L M TW ICAC
IYC IEC
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL
CONVENTION & COMPETITION
MIAMI, FL JUNE 17–22, 2019 2019
from the President

Dear Friends,

This week, we members and friends of the GFA gather to begin our
annual celebration of creativity, artistry, scholarship, and community.
We come from all corners of the earth, and with all kinds of
backgrounds. We come to learn, to share, to be inspired.

Thirty years ago, I was inspired when I first heard Manuel Barrueco
play in concert. At GFA 2019, we celebrate and honor the
legendary career of this icon in our world. We also welcome many
returning artists, and some exciting new young artists in their debut
performances with us. Let’s celebrate the fact that we are able to hear
these wonderful artists live and in person.

The advent of YouTube has given us all immense access to great art, and has simultaneously changed how we as a society appreciate
concerts. Those of us here still very much value the tangible qualities of music that one can only experience in a live performance.
Let’s celebrate that common appreciation, as well as our diverse experiences and opinions.

Let’s debate string tension; the validity of the guitar orchestra as a tool for instruction; Sor vs. Giuliani; the progress of our
instrument in the bigger world of classical music; and which kind of buffer gets the perfect polish on our nails. Let’s learn from one
another, and challenge our long-held positions on subjects which are so near and dear to us.

GFA is a safe place. We understand each other. We support each other. If this is your first time here, let us help you find your way.
Stop me in the hall, or join us at afterhours, and introduce yourself. For those of us involved in the leadership of the GFA, it is our
biggest reward of the week to hear from you, our members, in person.

We are thrilled that you made it work to be here in Miami. Help us share with those who aren’t as lucky as you by contributing to
our social media presence:

Facebook: Guitar Foundation of America (GFA) | Instagram/Twitter: @Gtrfound


YouTube: GFA Video | #gtrfound #gfa2019 #guitarsummit | Blog: https://gtrfound.wordpress.com/

When you’re done scrolling and posting, put down the phone, and get back to that debate on nail care! Wishing you an invigorating
and inspiring week exploring creativity, artistry, scholarship, community, and humanity, all through the lens of the guitar.

Martha Masters
President, GFA

MIAMI
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

2019
MIAMI

Rafael Padrón
University of Miami

Welcome to the University of Miami’s Frost School of Music.

It is with a deep sense of pride that we welcome you to our highly-acclaimed Frost School of Music—
a dynamic place, where brilliant students and faculty mentors come together to change the world of music.
This year we add another chapter to our school’s history by hosting the 2019 Guitar Foundation of America
Convention & Competition, a dream come true for both of us.

We have planned everything with you, our friends and audience in mind. Throughout this week, you will
enjoy concerts and master classes by some of the world’s premier performing artists, along with a vast array
of lectures, workshops, and other activities. We are confident you will enjoy all of the programming you will
experience during the convention.

For those of you that have attended previous GFA conventions, you know what lies ahead. For those of you
joining us for the first time, welcome, and buckle up! Although this will be a fast- paced, action-packed week,
we do hope that you will also find some time to relax and enjoy a mojito here in the Sunshine State, and get to
know your fellow members and colleagues.

We would like to extend our sincere gratitude and appreciation to all volunteers, everyone at the Florida Guitar
Foundation, Richard Schriber, our Dean Shelly Berg, and the Frost School of Music’s administration, faculty,
and staff, who have been essential in making this event possible.

We are here to make your stay a memorable one, let us know if we can be of any assistance. Now silence your
phones…and enjoy the show!

Sincerely,

MIAMI 5
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION
UNIVERSITY OF MIAMI HOST

MIAMI
I N T E R N AT I O N A L C O N V E N T I O N & C O M P E T I T I O N SCHEDULE
TW TW: TW: TW: TW:

L L: L: L L:

ICAC Prelims

IYC Prelims

ICAC Prelims L L L: L: IYC Finals,


L
ICAC IYC Prelims
ICAC Prelims L:

L:

11:00-12:30 C: C: ICAC C: IEC Winners Concert

C: C: C:

ICAC Prelims IYC Prelims

1:30-3:30 L Luthier Showcase L: M IYC Finals,

M ICAC L:
ICAC Prelims
IYC Prelims

2:30-3:30 ICAC Prelims L L: L: L: M:


L:
YGO Rehearsal IYC Prelims
YGO Rehearsal

C: C: C:

YGO Rehearsal
2019

Guitar Orchestra Rehearsal Guitar Orchestra Rehearsal


Guitar Orchestra
Youth Social Rehearsal

Educators Happy Hour ICAC Finals


Orchestra Performance

8:00-10:00 C: C: C: C: C: Awards Ceremony

C: :
SCHEDULE

MIAMI
KEY: C– L M TW ICAC IYC

7
IEC Vendor Expo Hours:
2019 CAMPUS MAP
UNIVERSITY OF MIAMI
2019

8 MIAMI
YOUTH SOCIAL 2019 VENDOR EXPO 2019
2019
Henry Fillmore Band Hall,
IYC competitors, Youth Guitar Orchestra players, and any
Nancy Greene Hall
other young convention attendee, we invite you to the GFA
The 2019 Vendor Expo includes luthiers, publishers,
Youth Social on Thursday at 6pm. Meet for pizza and some
distributors, guitar societies, guitar accessories, and more.
fun and games with GFA staff and artists! We’ll also have
Visit the Vendor Expo to find a perfect new instrument,
an informative Q&A time with Raphaël Feuillâtre, the 2018
browse sheet music, or sample guitar accessories. The
Rose Augustine Grand Prize Winner.
Expo is located in the School of Music Building, in Henry
Fillmore Band Hall and Nancy Greene Hall.

AFTER HOURS 2019 VENDOR EXPO HOURS:

Join us each evening


after the 8pm concert for
a time to unwind and
socialize with fellow GFA
Convention attendees.
After the 8pm concert from
Monday through Thursday,
we’ll be headed to Titanic
Brewing Company.

MIAMI 9
2019 VENDOR EXPO
All vendors are Entrance
= Sponsor
located in the Frost
School of Music
Rehearsal Center:
Henry Fillmore Hall
and Nancy Greene Wi
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vin
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Hall. Sponsors listed ase
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NOTE: Floor plans and ven- Gu an S uit Lemition

GFA Vendor Expo 2019


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Joel Barbeau Luthier thi rb
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Luthier. David Chaves
Reverie Classical Guitars
Kevin J. Cope
D'Addario
Joshia de Jonge Guitars
EDITIONS HENRY LEMOINE Entrance
= Sponsor
The FJH Music Company Inc.
Timeless Instruments
Bill Glez Guitars
Hill Guitar Company
Ca Th Tim
Kopecky Guitars d iz G
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Toby Rzepka, Luthier ita s B
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Sean Spurling Guitars Gu peck
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Vincent Xu Luthier
Yanlei Luthier

10 MIAMI
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL
CONVENTION & COMPETITION
MIAMI, FL JUNE 17–22, 2019 2019

The
Augustine
Foundation

* Vendors*

52 Instrument Co. Dogal Strings


Classical Guitar Store
D'Addario

Azaret Guitars
Dogal
Thomas Baldwin Guitars
Frost School of Music—University of Miami
Joel Barbeau Luthier Wood Ring Guitars
Rokkomann, Inc.
Gregory Byers, luthier Toby Rzepka, Luthier
Cadiz Guitars Savarez
Mel Bay
Vicente Carrillo Guitars Sean Spurling Guitars
Savage Guitars
Luthier. David Chaves
Savarez
Reverie Classical Guitars
Kevin J. Cope Texas Guitar Gallery
D'Addario Traphagen Guitars
Tour Mic Wireless
Joshia de Jonge Guitars
Visesnut Cases
Ubach Method for Guitar
Wiseman Cases
The FJH Music Company Inc. Wiseman Cases
Timeless Instruments Vincent Xu Luthier
Bill Glez Guitars Yanlei Luthier
Hill Guitar Company
Kopecky Guitars

*Lists on this page are current at time of Program printing. See Vendor Expo floor plans on pages 10.
Find website and email contact information for all of the Vendors listed in this Program on page 86.
MIAMI 11
2019
GFA is proud to offer private lessons packages (thirty-minute lessons with three convention artists) that are available to all
registered convention participants. This is a wonderful opportunity to learn from world-class artists. Visit the GFA table
for schedule information or to check for available openings.
Volunteers and signage will guide you to your lesson location. Photos/names below are followed by their biography page
numbers. Additional teachers may be assigned during the week at dates and times to be determined.

SCHEDULE 10 am | Tuesday–Saturday

Tuesday, June 18

Wednesday, June 19

João Luiz Adam Levin

Thursday, June 20

Iliana Matos

Friday, June 21

Saturday, June 22

Daniel Bolshoy
12 MIAMI
GUITAR FOUNDATION OF AMERICA
XXXVII INTERNATIONAL CONCERT ARTIST COMPETITION
PRIZES 2019
$10,000 Cash*

States, Canada, Mexico, South America

with the New York City Classical Guitar Society

2nd Prize:
$7,000 Cash*

$5,000 Cash*

JURY

COMPETITION SUMMARY

Fantasia

Note: See a complete list of past ICAC winners on page 85.


*All prizes subject to mandatory 30% federal tax withholding for foreign prize-winners; U.S. prize-winners will be issued an IRS-1099 Form.

MIAMI
GUITAR FOUNDATION OF AMERICA
XXXVII INTERNATIONAL CONCERT ARTIST COMPETITION
2019

PRELIMINARY
ROUND
JURORS

Helen Sanderson

SEMIFINAL
& FINAL
ROUND
JURORS

Rene Izquierdo Dariusz Kupinski

MIAMI
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL
CONVENTION & COMPETITION
MIAMI, FL JUNE 17–22, 2019 2019
Set Composer
Pat Metheny
Pat Metheny was born in Lee's Summit, MO on August 12,
1954 into a musical family. Starting on trumpet at the age of 8,
Metheny switched to guitar at age 12. By the age of 15, he was
working regularly with the best jazz musicians in Kansas City,
receiving valuable on-the bandstand experience at an unusually
young age. Metheny first burst onto the international jazz
cene in 1974. Over the course of his three-year stint with
vibraphone great Gary Burton, the young Missouri native
already displayed his soon-to-become trademarked playing style,
which blended the loose and flexible articulation customarily
reserved for horn players with an advanced rhythmic and
harmonic sensibility -a way of playing and improvising that was
modern in conception but grounded deeply in the jazz tradition
of melody, swing, and the blues. With the release of his first
album, Bright Size Life (1975), he reinvented the traditional
"jazz guitar" sound for a new generation of players. Throughout
his career, Pat Metheny has continued to redefine the genre by
utilizing new technology and constantly working to evolve the
improvisational and sonic potential of his instrument.

Metheny's versatility is nearly without peer on any instrument. Over the years, he has performed with artists as diverse as Steve
Reich to Ornette Coleman to Herbie Hancock to Jim Hall to Milton Nascimento to David Bowie. Metheny’s body of work includes
compositions for solo guitar, small ensembles, electric and acoustic instruments, large orchestras, and ballet pieces and
even the robotic instruments of his Orchestrion project, while always sidestepping the limits of any one genre.

As well as being an accomplished musician, Metheny has also participated in the academic arena as a music educator. At 18, he was
the youngest teacher ever at the University of Miami. At 19, he became the youngest teacher ever at the Berklee College of Music,
where he also received an honorary doctorate more than twenty years later (1996). He has also taught music workshops all over the
world, from the Dutch Royal Conservatory to the Thelonius Monk Institute of Jazz to clinics in Asia and South America. He has also
been a true musical pioneer in the realm of electronic music, and was one of the very first jazz musicians to treat the synthesizer as a
serious musical instrument. Years before the invention of MIDI technology, Metheny was using the
Synclavier as a composing tool. He also has been instrumental in the development of several new kinds of guitars such as the soprano
acoustic guitar, the 42-string Pikasso guitar, Ibanez’s PM series jazz guitars, and a variety of other custom instruments.

It is one thing to attain popularity as a musician, but it is another to receive the kind of acclaim Metheny has garnered from critics
and peers. Over the years, Metheny has won countless polls as "Best Jazz Guitarist" and awards, including three gold records for
(Still Life) Talking, Letter from Home, and Secret Story. He has also won 20 Grammy Awards spread out over a variety of different
categories including Best Rock Instrumental, Best Contemporary Jazz Recording, Best Jazz Instrumental Solo, Best Instrumental
Composition at one point winning seven consecutive Grammies for seven consecutive albums. In 2015 he was inducted into the
Downbeat Hall of Fame, becoming only the fourth guitarist to be included (along with Django Reinhardt, Charlie Chrisitan and Wes
Montgomery) and it’s youngest member. Metheny has spent much of his life on tour, often doing more than 100 shows a year since
becoming a bandleader in the 70’s. At the time of this writing, he continues to be one of the brightest stars of the jazz community,
dedicating time to both his own projects and those of emerging artists and established veterans alike, helping them to reach their
audience as well as realizing their own artistic visions.

MIAMI 15
GUITAR FOUNDATION OF AMERICA
XV INTERNATIONAL YOUTH COMPETITION
PRIZES 2019

1st Prize: $2,000* 2nd Prize: $1,000* $750* $500*

1st Prize: $1,000* 2nd Prize: $750* $500* $250*

Other prizes awarded to all Finalists will include:

COMPETITION SUMMARY

Complete Works for Solo Guitar

JURY

IYC SENIOR DIVISION JURORS

Stephen Aron

IYC JUNIOR DIVISION JURORS

Adam Levin

MIAMI
GUITAR FOUNDATION OF AMERICA
III INTERNATIONAL ENSEMBLE COMPETITION

2019
PRIZES
1st Prize:
2nd Prize: $1500*
$750*

COMPETITION SUMMARY

JURY

IEC JURORS

Alex Dunn João Luiz Helen Sanderson

MIAMI 17
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION
2016

TECHNIQUE WORKSHOPS and MASTERCLASSES

Tuesday, June 21, 9am Wednesday, June 22, 9am


TECHNIQUE WORKSHOP MASTERCLASS TECHNIQUE WORKSHOP

MASTERCLASS TECHNIQUE WORKSHOP MASTERCLASS

Saturday, June 25, 9am


TECHNIQUE WORKSHOP TECHNIQUE WORKSHOP

MIAMI 18
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

MASTERCLASS PERFORMERS
(Order of performers is subject to change)

Daniel Monaghan El Decameron Negro: El Arpa del Guerrero L. Brouwer


Jack Davisson Sonata for Guitar: I. Esordio, II. Scherzo A. Ginastera
Chanhyeok Lee Sevilla I. Albeniz
Nolan Juaire Suite Venezolana: II. Danza Negra, IV. Vals Antonio Lauro

Henry Bayless Canarios G. Sanz


Francesca Boerio Prelude in E major from Violin Partita J.S. Bach
Matthew Gillen Sonata Romántica: I. Allegro Moderato M. Ponce
Taylor Klinsky Scottish-Choro H. Villa-Lobos

Francisco Venegas Prelude No. 1 from A. Villamil


Tres Preludios Latinoamericanos
Giulia Ballare Pavane triste and Finale A. Jose
Jesus Serrano Caprice 24 N. Paganini
Yuexuan Huang Selections from Five Bagatelles W. Walton

2019
MIAMI 19
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

20
The
Augustine
Foundation

2019
MIAMI 21
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

LECTURE
Tuesday, June 18

Ioannis Theodoridis
2019
MIAMI

How a better anatomical understanding can assist guitar performance and pedagogy
What are common misconceptions around optimal use of the body for playing guitar, and why is natural technique so hard to
find? How come, regardless of experience, some performers exhibit physical fluency whilst others don’t? Despite the need for
complex and intricate muscular coordination when playing an instrument, the average musician’s knowledge of relevant anatomy
and movement is generally low and often misinformed. With an emerging treasure trove of information and discoveries found in
the research of sports physiology and biomechanics, it is no longer a matter of lack of knowledge—but instead applying an up to
date understanding of the body to the everyday demands of musicians.

This lecture will introduce a biomechanics method designed for musicians called Timani, and how transferring relevant sports
and movement research to music making can present us with a more concrete understanding of how the body works when
playing an instrument. Alongside anatomical explanations, customized exercises are taught to re-train certain muscles for better
biomechanical coordination and strength. This approach has had musicians report experiencing an increased sense of stability,
freedom of movement, technical security, and ability to express their musical intention. Increased anatomical understanding and
better coordination can also help to prevent pain or injury caused by mal-alignment and compensatory muscular patterns.

This physiology method for musicians is developed by Tina Margareta Nilssen, teacher at the Norwegian Academy of Music
(NMH), and has been research by NMH associate professor Vibeke Breian’s at the Centre for Excellence in Music Performance
Education (CEMPE) in Oslo, focusing on the implementation of this method for conservatoire level students. The results of the
study saw the method being adopted and taught at the Norwegian Academy of Music and Musik Akademie Basel.

Biography
Awarded the National Scholarship Award from the Royal Swedish Academy of Music four years in a row, guitarist Ioannis
Theodoridis’ concert appearances include Wigmore Hall, the Stockholm Concert House, Barbican Centre, and Uppsala Concert
House. In 2018 he was the recipient of Sweden’s biennial guitar award, the Jörgen Rörby Prize.

Ioannis specialises in physiology for musicians, having studied at the The Musician’s Health and Movement Institute in Norway,
Timani with Tina Margareta Nilssen, and Alexander Technique at the Royal College of Music in London. He has taught
physiology for musician’s at Brussels Royal Conservatory of Music, TU University of Music and Dance Dublin, the Swedish
Guitar and Lute Festival and Nyköping Guitar Seminars.

He has received prizes from the Kempe-Carlgrenska Fund, Anders Sandrews Trust, Lennox Berkeley Society, Gålö Foundation
and Helge Ax:son Johnson’s Foundation, and has won guitar awards at the Royal College of Music and Trinity Laban
Conservatoire during his studies. In 2017-2019 Ioannis studied a Master of Advanced Studies at CSI in Lugano, Switzerland with
Lorenzo Micheli, and his performances and productions have been broadcast by Swedish Radio P2, BBC Radio 3, and Classic
FM.

22
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

LECTURE
Tuesday, June 18

Bráulio Bosi
2019
MIAMI

Guitar Technique and Injury Prevention


Guitarists are susceptible to multiple injuries directly related to guitar technique: carpal tunnel syndrome, lateral epicondylitis,
medial epicondylitis, neuropathy of the ulnar nerve and stenosing tenosynovitis, among others. A literature review shows that most
injuries affecting guitarists are caused by common faulty techniques that include excessive flexion, extension or sideways deviations
of the wrist, compression of the forearm muscles, exaggerated bending of the elbow, prolonged periods of maximal supination of
the wrist and large amounts of tensioned positions. The footstool, while widely used, may contribute to chronic injuries as it moves
the spine away from its natural shape. Placement of the music stand, ergonomic supports as well as the chair guitarists choose
play an important role in ensuring a technique free of tension. In summary, the guitarist should search for the neutral position
when playing, a position where the joints are around the mid-point of their entire range of motion and where the body finds more
stability and relaxation. Based on the evidence available, this lecture will discuss the main causes of injuries, analyze the footstool
and different ergonomic supports, and identify faulty techniques while proposing solutions that place the guitarist’s body closer to
the neutral position, reducing tension and theoretically decreasing the chances of playing-related injuries.

Biography
Bráulio Bosi is the guitar professor at the University of Missouri – Kansas City. He graduated in Music Education from the
Federal University of Espírito Santo (Brazil) and possesses a master’s degree from Oklahoma City University and a doctoral degree
from the University of Missouri-Kansas City, both in classical guitar performance. Dr. Bosi currently researches in the field of
performing arts medicine. He has co-authored a book on musician’s health entitled The Musician’s Health in Focus: Multiple
Perspectivesand his papers have been published by peer-reviewed journals worldwide including American Music Teacher, MTNA
E-Journal, Per Musi, Musica Hodie, among others.
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

LECTURE
Tuesday, June 18

2019
MIAMI

“The Chant of the Carpideiras”: the most Brazilian étude by Heitor Villa-Lobos
This lecture proposes a discussion on a presence of Brazilian elements in the Twelve Études for Guitar by Villa-Lobos.
Controversy has surrounded the work for many years since its dedication to Andres Segovia, who has never performed the
whole work, until the discovery of the manuscript version at the end of the last century, which contains several differences from
the edited version of the 1950s.

On the order hand, it is undeniable that the work is a milestone in the guitar repertoire of the 20th century. The études are
considered a universal work, with no explicit Brazilian aspects, but the analysis of some elements may deny this assumption.
The central point of this lecture will be an analysis of the eleventh étude, work that contains typically Brazilian elements, for
instance, a tune that evokes the chant of the “carpideiras” (mourners) of the northeast of Brazil. Also, they were composed at
the end of a decade when Villa-Lobos was chosen as the musical icon of the Modern Art Week of 1922 in Sao Paulo, an event
that caused a revolution in the Brazilian Nationalism.

Biography
Fábio Bartoloni is a Doctor of Musical Arts, receiving this degree in Guitar Performance from the Arizona State University,
where he worked under Frank Koonce’s supervision, holding a TA position. His research discussed the broadening of the
repertoire for guitar and piano duo, focusing on an arrangement of the first Bachianas Brasileiras by Villa-Lobos. During this
degree, he was chosen an Outstanding Graduate, representing the whole Herberger Institute for the Design and the Arts. He
has also been the recipient of several other prizes, such as the Joan Frazer Award 2016-2017, Mozarteum Competition and
Souza Lima Competition. Fábio is currently Adjunct Guitar Professor at Sao Paulo State University in Brazil, where he also
teaches at the Villa-Lobos Conservatory. With his father, Giacomo Bartoloni, he has formed the Duo Bartoloni which has led to
the release of the CD 5 Compositores Brasileiros por 2 Violonistas and to tours in Brazil and Europe (Paris, Laon and Darmstadt,
etc). He also performs in a duo with his wife, the pianist Daniela Lucatelle. They have been playing worldwide, including
performances in Europe (X Festival Guitares en Picardie in France, St. Mary-at-Finchley Church in London, Mannheim
Musicschule in Germany), in the United States (The Phoenix Musical Instrument Museum, Katzin Concert Hall, Tempe
Center for the Arts, MusicaNova Series), and Brazil. The Duo Lucatelle-Bartoloni also recorded the CD Sonatas and Fantasias
that featured exclusively original works for guitar and piano duo. He is a founding member of the Quarteto Tau with whom
he toured France and the UK including concerts at St. Martin in the Fields church in London and the Cambridge University
along with international festivals in France. They recorded the albums Brasileiro and Cordas Brasileiras, produced by Paulo
Bellinati.
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2019
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

CONCERT
Tuesday, June 18
11am | Gusman Hall
Rafael Padrón

Cuban born guitarist, Rafael Padrón, began studying the guitar at the age of eleven. He attended the National School of Art in
Havana, Cuba, where he completed his studies with the distinguished Argentinean teacher and performer, Victor Pellegrini. In
1986, he was awarded a scholarship to study at the Advanced Institute of Art in Havana, where he graduated with a degree in
music in 1991, receiving the “Student of High Achievement” award. He has studied in masterclasses with such artists as composer
Leo Brouwer, guitarists Maria Luisa Anido, Alvaro Pierri, Costa Cotsiolis and David Russell.

Mr. Padrón has won top prizes in many national and international competitions, among them the Best Interpretation of Latin
American Music in Havana; The Diploma of Honor at the International Classical Guitar Competition in Chile; a top prize at
the National Guitar Competition in Havana and winner of the Montpelier Cultural Arts Center Recital Series Competitions in
United States of America.

He has been featured in festivals like the International Festival of the Guitar in Havana, Cuba; The International Festival of Music
of the Hatillo in Caracas, Venezuela, where he premiered Leo Brouwer’s Concerto for Guitar and Orchestra No. 3, “Elegíaco”;
The International Guitar Festival in Costa Rica were he premiered Leo Brouwer’s Suite “From Yesterday to Penny Lane”; The
International Festival of the Guitar in Panama, The International Music Festival in Costa Rica and The Festival Iberoamericano
de Guitarra, Tenerife, Spain, Rust International Guitar Festival and Competition, Rust, Austria, and Brno International Guitar
Festival, Czech Republic.

Rafael Padrón has performed both solo and with orchestras in various cities in Cuba, Chile, Venezuela, Costa Rica, Japan,
Spain and in the United States of America. He has performed as a soloist with the Symphony Orchestra of Matanzas, Cuba; the
Grand Marshall of Ayacucho Symphony Orchestra of Venezuela; the Chamber Orchestra of Caracas, Venezuela; the Camerata
Latinoamericana of Costa Rica,The Independence Symphony Orchestra in Costa Rica, Panama National Symphony Orchestra
and with The Panamerican Symphony Orchestra of Washington D.C.

Mr. Padrón has taught classical guitar at the Jose Antonio and Carmen Calcaño Foundation of Caracas, Venezuela; at the
National University of Heredia, Costa Rica; the Costa Rica University of San Jose,Costa Rica; The Paco de Malaga Guitar Gallery
in Washington D.C.; The Olenka Music School, Columbia, Maryland, and The Levine School in Washington D.C. Mr. Padrón
graduated from the Peabody Conservatory at the Johns Hopkins University in Baltimore, MD, where he completed his Graduate
Performance Diploma on a full scholarship, under the tutelage of world-renowned guitarist Manuel Barrueco. Mr. Padrón
accomplished his Masters Degree Diploma at the University of Miami in December 2005. He has recorded four CDs Fandango
with Aurora Guitar Quartet, and solo Noviembre, Alhambra and Barrios.

Currently, he is the Program Director of Classical Guitar at Frost School of Music, University of Miami.
Rafael Padrón

Omaggio a Debussy Leo Brouwer


Omaggio a Mangoré (b. 1939)
Omaggio a Caturla
Omaggio a Prokofiev
Omaggio a Tárrega
Omaggio a Sor
Omaggio a Villa-Lobos
Omaggio a Piazzolla
Omaggio a Szymanowski
Omaggio a Stravinsky

An Idea
Cantilena de los bosques
Un dia de Noviembre

Guajira Criolla
Drume Negrita
Danza Característica

Elogio de la Danza
Lento
Obstinato

Suite No.1
Preludio con expresión
Allegro burlesco
Andantino un poco lento

Tres piezas latinoamericanas


Danza del Altiplano
Canción Triste (Guastavino)
La Muerte del Ángel (Piazzolla)

2019
MIAMI 27
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

CONCERT
Tuesday, June 18
11am | Gusman Hall
Duo Sonidos
Celebrating 13 years together, Duo Sonidos has won over classical music audiences as a fresh addition to established concert series
internationally.

Adam Levin, classical guitarist (www.adamlevinguitar.com), and William Knuth, violinist (www.williamknuth.com), are
celebrated artists both individually and collectively as Duo Sonidos.

These brilliant young men released their debut CD to critical acclaim from such esteemed magazines as American Record Guide,
Classical Guitar Magazine, Music Web International, Fanfare Magazine and BBC Music Magazine. Julian Haylock of BBC
Music Magazine describes Duo Sonidos’ playing as having a “loose-limbed, easy virtuoso ‘cool’ and beguiling tonal warmth that
combines laid back intuitiveness with classical sophistication... stunning performances from Duo Sonidos.”

Both Mr. Knuth and Mr. Levin are Fulbright Scholars and international prize-winners, including first prize at the Luys Milan
International Chamber Music Competition in Valencia, Spain. They have toured extensively across the United States and
Europe. Highlights from US touring include appearances at the National Gallery of Art, Alice Tully Hall, the Kennedy Center,
Strathmore Performing Arts Center, Jordan Hall, the Krannert Center for the Performing arts, Old First Concerts, among others.

They are planning a three-CD recording project that will highlight the entire violin and guitar catalog of guitarist and arranger,
Gregg Nestor. In February 2019, the duo released volume one of Nestor’s arrangements on the Naxos Label, which reached #3
on the Traditional Classical Billboard Chart. Volume two is slated for recording in November 2019. The duo is also dedicated to
championing contemporary repertoire, including pieces by Spanish composer, Jorge Muñiz, Cuban-Spanish Composer, Eduardo
Morales-Caso, Israeli composer, Jan Freidlin, among others.

www.duosonidos.com

2019
28 MIAMI
Duo Sonidos

Sonata D Major George Frideric Handel


Affetuoso (1685-1759)
Allegro arr. Allen Krantz
Larghetto
Allegro

from Homenajes* Eduardo Morales-Caso


A Frederic Mompou (b. 1969)

Three American Pieces Lukas Foss


Early Song (1922-2009)
Dedication arr. Gregg Nestor
Composer’s Holiday

Dawn and Wild Dance Karol Szymanowski


(1882-1937)
arr. Nestor and Krantz

*For Duo Sonidos

2019
MIAMI 29
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

LECTURE
Tuesday, June 18

Avril Kinsey
2019
MIAMI

Discovering 320 Works for Classical Guitar by 72 South African Composers


The talk on Dr. Kinsey’s research outlines the world’s first comprehensive investigation of music for the classical guitar by South African
composers.

The subject had not attracted the attention of academic researchers in South Africa or other parts of the world, as was discovered during the
initial two and a half years of MMus research undertaken at the University of Cape Town from 2007 to 2009. The most important Online
Public Access Catalogues (OPACs) and university-specific databases cited only 5 composers in the country. Further research conducted
extensively at the Southern African Music Rights Organisation (SAMRO), as well as through the media and through personal contacts,
eventually led to the astonishing discovery of 72 composers and 320 works. Among the discovery was a unique find, that of Dance of the Rain
by Priaulx Rainier composed in 1947 and recorded by Julian Bream on acetate in 1962. While more recent research findings between the years
2010 to 2018 include some substantial work by younger composers.

The talk is presented with an audio/visual presentation, including several audio samples, which provide a general overview of the literature and
feature some of the most important solo and chamber repertoire to emerge from South Africa. A brief historical survey provides context and
highlights the quantitative and qualitative findings.

The conclusion assesses the aesthetic and practical value of this repertoire and comments on the variety of musical styles of several of the most
prominent South African composers. Amongst these are Stanley Glasser of King Kong fame and Kevin Volans of White Man Sleeps fame, as well
as younger composers such as Derek Gripper, famous for his arrangements and compositions of West African kora music for the classical guitar.
Gripper achieved international recognition through his performances with John Williams, while Kinsey’s large-scale chamber work the Fynbos
Suite, composed for her DMus degree, has made her the first classical guitar composer in South Africa to have achieved a Doctoral degree in
composition.

Biography
Avril Kinsey has studied with internationally renowned performers and teachers, including Narciso Yepes, Ernesto Bitetti, Carlos Bonell, and
Christopher Parkening. She received her Masters of Music degree from the University of Cape Town with distinction, and is the recipient of
numerous awards including the Jules Kramer Fine Arts and Music Scholarship, the KW Johnstone Research Bursary and the Adcock Ingram
Classical Guitar Competition First Prize.

Her performing career has taken her to Singapore, Malaysia, Portugal, Spain, Holland, Belgium, Austria, Germany, Denmark, England,
Scotland, North America, Greece and Italy, many of which led to numerous live radio and television broadcasts. In 1988 she made her
orchestral debut with the National Symphony Orchestra performing Rodrigo’s Concierto de Aranjuez under the baton of Garcia Asensio.
Performing with the Cape Town Philharmonic Orchestra in 1996 she accompanied Luciano Pavarotti during the Cape Town visit of his world
tour.

Kinsey has composed over 40 works for, and including, the classical guitar. Most have been published by Art Music Editions and many
recorded on the Art Music label. Her works have been featured in television documentaries and radio programs (SABC TV, BBC Radio & TV,
Austrian Radio) and KPFK Radio in the USA. Several of her guitar works include the re-creation of bird calls, and the sounds of ethnic African
instruments.

Kinsey is the author of two music books Guitar Music from Africa and Guitar on Safari and the performer on 5 CDs. Her writings and articles
have also been published internationally in Classical Guitar, Soundboard and www.avrilkinsey.net. Kinsey composed the Fynbos Suite and an
orchestral ballet, Vulcanus, which features the guitar, and which formed part of her portfolio for her Doctor of Music degree at the Nelson
Mandela Metropolitan University. She is the founding director of the Cape Town Academy of Music (www.avrilkinsey.net/cape-town-
academy-of-music/) and the Cape Town International Guitar Festival http://www.capetownguitarfestival.com and Avril Kinsey Classical
Guitar Competition.
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

LECTURE
Tuesday, June 18

Marco Sartor
2019
MIAMI

Toward Personalized Guitar Fingerings


Our proficiency in finding the best guitar fingerings is directly related to the stage in which we are as musicians. By dividing
fingering proficiency in four stages, Dr. Marco Sartor will: (A) discuss benefits and disadvantages of fingering paradigms; (B)
directly relate fingerings with musical outcomes; (C) reveal obstacles and assumptions that prevent us from arriving at personal
fingerings and interpretations; and (D) help us build an accurate picture of our technical and musical proficiency, while
unveiling paths to reach higher levels.

Biography
Born in Montevideo, Uruguay, Marco Sartor is a top prize winner in numerous international competitions, including First
Prizes at the JoAnn Falletta International Concerto Competition, the Schadt String Competition and the Texas Guitar
Competition among others. He has performed solo and chamber music recitals in three continents to critical and public
acclaim, and appeared with orchestras such as the Allentown Symphony, Virginia Symphony, Buffalo Philharmonic, Ann Arbor
Symphony, and SODRE in Uruguay.

As an active pedagogue, Dr. Marco Sartor has given numerous masterclasses in universities and conservatories in the USA and
abroad. He has implemented successful guitar programs at the Carnegie Mellon Music Preparatory School in Pittsburgh, PA
and the Charleston Academy of Music in Charleston, SC, and has served on the faculty of the New World School of the Arts in
Miami, FL. He has recently been appointed Assistant Teaching Professor at Wake Forest University in Winston-Salem, NC.

Marco holds a Doctor of Musical Arts degree from Yale University, and has also received degrees from the College of
Charleston and Carnegie Mellon University. For more info, please visit MarcoSartor.com.
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

CONCERT
Tuesday, June 18

Petrit Çeku
Petrit Çeku’s exquisite sensibility and expressiveness have attracted and engaged audiences worldwide. He has performed many
solo recitals throughout Europe and North America and accompanied major symphonic orchestras such as Allentown Symphony,
Baltimore Symphony, Czech Chamber Philharmonic, Albanian Radio-Symphony, State Hermitage Orchestra of St. Petersburg,
Kosovo Philharmonic and Zagreb Philharmonic. He also appears regularly with the well-known string ensemble Zagreb Soloists
and is a founding member of Guitar Trio Elogio, a guitar ensemble established in 2008.

Hailed by guitar critic Colin Cooper as “a soloist of the highest ability,” Çeku has won nine first prizes in international guitar
competitions, including the Parkening Competition in Malibu, USA (2012). He was also the winner of the Schadt Competition
in Allentown, USA (2011) and the Maurizio Biasini guitar competition in Bologna, Italy (2011), in addition to the Pittaluga
Competition in Alessandria, Italy (2007), among others.

Born in 1985 in Prizren, Kosovo, Çeku began his musical instruction with Luan Sapunxhiu, later moving to Zagreb, Croatia,
to study with Xhevdet Sahatxhija. In 2008, he graduated from the renowned Zagreb Academy of Music, in the class of Darko
Petrinjak. From 2009-2013, he refined his craft under the instruction of Manuel Barrueco at the Peabody Conservatory in
Baltimore, USA.

Regarded by many as one of the greatest guitarists of this generation, Çeku's first CD was released in 2008 under the American
label Naxos. In that same year, he was awarded Best Young Musician by the Zagreb Philharmonic Orchestra. In May 2016 the
Spanish label Eudora released his recording of all six Bach Cello Suites, arranged by Valter Dešpalj. He plays on a Ross Gutmeier
guitar.

2019
MIAMI
Petrit Çeku

Sonata in C major Joseph Haydn


Allegro (1732-1809)
Menuetto arr. Valter Dešpalj
Moderato

from Symphony No. 3 in D major Luka Sorkočević


Andante (1734-1789)
arr. Xhevdet Sahatxhija

Three Songs Franz Schubert


Lob der Thränen (1797-1828)
Aufenthalt arr. Johann Kaspar Mertz
Ständchen

Una Limosna por el amor de Dios Agustín Barrios


Etude No. 1 in A major (1885-1944)

Cinco piezas para guitarra Astor Piazzolla


Campero (1921-1992)
Romántico
Acentuado
Tristón
Compadre

2019
MIAMI
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

CONCERT
Tuesday, June 18
8pm | Gusman Hall

Performance with Yamandu Costa

Yamandu Costa is a spectacular 7 string guitarist and composer who makes music with soulful passion, playful grace, and
stunning virtuosity that has transcended the borders of Brazil and become universally acclaimed wherever he performs. Born
into a musical family in Rio Grande do Sul, he began to play at age 6 and learned a staggering variety of styles like choro,
South American folk, tango, milonga, chamamé, indigenous genres, and jazz - an eclecticism that marks his virtuosity
and makes his technical skill far more striking and instantly accessible. Nominated for a Latin Grammy Award for Best
Instrumental Album in 2010, 2014 and 2018, Yamandu is a unique guitar player, composer and arranger, improviser and
interpreter who does not fit into a single category, but instead creates his own when playing his 7-string guitar. Extensive
touring has showcased his genius and natural ability of enchanting the audience at sold out venues around the world. Many
musicians have invited Yamandu for live projects and recordings including Bobby McFerrin, Richard Galliano, Doug de
Vries, Gilberto Gil, Toquinho, João Bosco, Ney Matogrosso, Marisa Monte, Renato Borghetti and many more. Yamandu
has recorded 14 CDs and 3 DVDs, solo, in duo or with his trio. He has also performed as featured soloist with the Brazilian
Symphony Orchestra, Symphony Orchestra of São Paulo, Calgary Philharmonic, and the Orchestre National de France.

Shelly Berg is a Steinway piano artist and five-time Grammy-nominated arranger, orchestrator, and producer. His album
projects Gershwin Reimagined: An American in London (Decca Gold), The Deep (Chesky), The Nearness of You (Arbors),
Blackbird (Concord) and The Will (CARS) are critically acclaimed. Berg earned three Grammy nominations in the Best
Arrangement Accompanying Vocal(s) category with jazz singer-lyricist Lorraine Feather and international superstar Gloria
Estefan, and a fourth Grammy nomination as co-producer of Gloria Estefan: The Standards (Sony). He earned his fifth
Grammy nomination as co-arranger of “I Loves You Porgy/There’s a Boat That’s Leavin’ Soon for New York” from the album
Rendezvous (2018) featuring jazz singers Clint Holmes and Dee Dee Bridgewater with The Count Basie Orchestra. Recent
projects include recording and/or performing with Tony Bennett, Seal, Lizz Wright, Andra Day, Clint Holmes, Renée Fleming,
and Arturo Sandoval. He is also the host of a monthly radio show Generation Next on Sirius XM, music director of The Jazz
Cruise, and artistic advisor for the Jazz Roots series at the Adrienne Arsht Center in Miami.

An award-winning educator with 39 years of leadership in higher education, Shelly Berg is Dean and Patricia L. Frost Professor
of Music at the Frost School of Music at the University of Miami. He was previously the McCoy/Sample Professor of Jazz
Studies at the Thornton School of Music at the University of Southern California and a past president of the International
Association for Jazz Education (IAJE). In 2003 he was honored as Educator of the Year by the Los Angeles Jazz Society and in
2002 received the IAJE Lawrence Berk Leadership Award. In 2000 the Los Angeles Times named him one of three “Educators
for the Millennium.”
In tonight’s special event, University of Miami Frost School of Music Dean Shelly Berg will
interview Yamandu Costa on stage to learn more about his unique approach to his instrument,
his preference for the 7-string guitar, his childhood travels throughout South America
performing at festivals, and much more. Yamandu will answer with words, but also with
his instrument, of course, by demonstrating techniques, showing different genres, and also
playing a few of his favorites compositions that have marked his career. He will also take some
questions from the audience. This will be a very special opportunity to gain some insight and
witness the virtuosity of one of today’s great guitar players.

This evening's event was generously sponsored by Savarez.

2019
MIAMI
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

LECTURE
Wednesday, June 19

2019
MIAMI

An Introduction to Interpretation and Improvisation in Guitar Music of the Early 19th Century
Improvisation has always been a part of music making in all cultures and of all epochs. Composer-guitarists where just that,
one and the same, whereby they wrote cadenza as can be found, not only in concerti, but in solo works. Why then has the
practice of improvisation largely disappeared from modern performances of classical/romantic era musics? This session will
focus on evidence of improvisation as found in the documents and literature of nineteenth-century guitarist-composers. In
addition, the interpretation of music of the same era will be explicated as those who composed and performed it wrote on the
subject.

Biography
Robert Trent appears regularly on the concert stage in North and South America, Europe, and in Asia, performing modern
guitar, Renaissance lute, archlute, and historic instruments of the nineteenth-century.

Reviewers have said: “His interpretations are dignified, formal, and carefully thought out, with a sense of structural integrity
that informs every passing tone.” –New York Times

“A SEASONED ARTIST STRUMS THE DEPTHS (headline) “.... he seemed most intent on using his sweet, crystalline
sound to plumb the emotional depths of each work.” -Philadelphia Inquirer

“Perhaps the best Chamber Music recording of the year.” Fanfare, Jerry Dubins. Review of “Concert Royaux” on Epiphany
Recordings Ltd. Robert Trent, archlute.

A recording artist for Dorian Records© (with Duo Firenze) in “Italian Nocturnes: Music for Fortepiano and Early 19thc.
Guitar”, “Traveler’s Tales” TownHall Records (CPS- 8776), with flutist Leslie Marrs (Oasis label) entitled, “Robert Fruehwald:
Flute and Guitar Music”, on archlute on the recent “Concerts Royaux” on Epiphany Records.

Published by www.guitarchambermusic.org ; he has contributed improvised cadenzas in the style of Fernando Sor to the
“Complete Sonatas of Diabelli, Giuliani and Sor, Vol. 1”, and; served on the editorial team of the Guitar Foundation of
America’s ‘Soundboard Scholar’; blogs on music, guitar, practicing and historical performance practice
at kitharamuse.blogspot.com/

The first recipient of the degree DMA in guitar performance (Peabody Institute of The Johns Hopkins University), he studied
with Julian Gray, Manuel Barrueco, Ronn McFarlane; holds the M.A. music (Trenton State College), from whom he has
received the Distinguished Music Alumni Award, and the B.M. in performance from the University of the Arts.

In his 26th year as Full Professor of Music at Radford University, he is in his 19th year as director of Radford University’s
Annual International Guitar Festival. His students are performers, educators, and administrators in the U.S., and in Asia.
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

LECTURE
Wednesday, June 19

2019
MIAMI

The Pain Free Guitarist: Prevention & Recovery


This lecture is an introduction to the Egoscue Method, an approach to preventing and treating pain and injuries by realigning
the body, given by Matt Pidgeon, Director of the Egoscue Clinic in Boston, MA and classical guitarist Andrew Leonard.
Andrew Leonard will share his story of working with Matt Pidgeon and the Egosuce Method to realign his body after 30+
years of classical guitar playing. Before working with Matt, Andrew was experiencing pain on the entire right side of his body,
including numbness in the right arm while practicing and believed he was on the verge of serious injury. Instead of seeking
physical therapy to treat one area of pain, Andrew’s search to find the source of his problem led to the Egosucue Method and
Matt Pidgeon.
Matt Pidgeon will describe mis-alignment issues that can occur while playing classical guitar, share his experiences working
with musicians at the Berklee School of Music and lead the audience through several Functionality tests and corrective Egoscue
Exercises.
The Egoscue Method, created by Pete Egoscue an anatomical physiologist, is based on the belief that the body is perfect by
design, most pain is the result of imbalances due to overuse or injury and the human body has amazing regenerative power to
heal itself if postural alignment is restored. The Egoscue method uses gentle exercises that—when done with proper form in the
right sequence—can restore posture, eliminate chronic pain, and increase functional mobility.

Biographies
Andrew Leonard’s classical guitar playing has been referred to as "spirited and convincing" in Soundboard Magazine and
"inspiring...effortless style" in Northeast Performer. Andrew’s two solo recordings, A World of Guitar Music and Music of the
Ages have received airplay on National Public Radio affiliates nationwide. As a member of the Leonard & Smith Guitar Duo,
Andrew performed for 15 years with Grammy Award winning acoustic fingerstyle guitarist, Doug Smith.
For TrueFire.com, Andrew created several classical guitar courses and runs their monthly membership channel: The Classical
Guitar Conservatory. As a college level educator, Andrew ran the guitar program at the University of Kentucky and taught
at Wesleyan University. He co-taught week long guitar programs with Scott Tennant, David Leisner, Benjamin Verdery and
Dennis Koster at the National Guitar Workshop and other summer festivals.
As a faculty member of the Northampton Community Music Center, Andrew uses his Suzuki guitar training to teach students
as young as 3. Additionally, he was the Director of the Childbloom Program of Woodford County in Kentucky. Andrew has
a master of music degree from the Yale School of Music and is an endorsee for the D’Addario String company. For further
information: www.Andrew-Leonard.com
As the Clinic Director of the Egoscue of Boston clinic, Matt Pidgeon has helped hundreds of people, from all walks of life,
find relief from acute and chronic pain to improve body performance in the activities that fulfill them. In the field of music,
Matt has worked professional musicians to relieve chronic, overuse pain associated with playing an instrument or singing.
Matt was also a speaker and presenter at Berklee College of Music’s Berklee Teachers on Teaching (BTOT) event. At BTOT,
Matt educated Berklee professors, across all departments, in how the Egoscue Method can help relieve and prevent pain and
conditions most commonly experienced by musicians.
Matt received a bachelor of science in athletic training from Springfield College and is a certified Advanced Exercise Therapist
through the Egoscue Institute. Matt worked in the sports medicine and rehabilitation fields at the collegiate, high school, and
clinical levels for several years before discovering the Egoscue Method.
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

CONCERT
Wednesday, June 19
11am | Gusman Hall
Laura Snowden
'A poignant, mesmerising show....held the Wigmore Hall rapt' (The Guardian)
‘A true musician whose interpretative capabilities are profound and exciting’ (Classical Guitar Magazine)

Award-winning classical guitarist and composer Laura Snowden was handpicked by Julian Bream to give the Julian Bream Trust
concerts at Wigmore Hall in 2015 and 2017, premiering the Trust’s new commissions by Olli Mustonen and Julian Anderson.
Laura was the first guitarist to graduate from the world-renowned Yehudi Menuhin School, where guitar tuition was made
possible by a donation from the Rolling Stones. Last year she recorded a new guitar concerto by Lisa Streich with the Deutsches
Symphonie-Orchester Berlin, later premiering it at the Ernst von Siemens Award Ceremony in Munich. Laura draws on her
Celtic folk background with her folk ensemble Tir Eolas, with whom she has performed at venues as wide-ranging as the Royal
Albert Hall and Shakespeare's Globe at the invitation of guitarist John Williams.

As a composer, Laura has been commissioned by VIDA Guitar Quartet, the Park Lane Group and the International Guitar
Foundation. She won First Prize at the Volos International Guitar Composition Competition and her song Live Free was
performed at over 300 simultaneous concerts in 60 countries for the charity Voices for Hospices.

Laura currently teaches at the Yehudi Menuhin School and has given classes alongside performances at the International Guitar
Foundation's Summer School, the Royal Welsh College of Music and Drama, Birmingham Conservatoire, Uppsala International
Guitar Festival, and the Altamira Hong Kong International Guitar Symposium.

2019
MIAMI
Laura Snowden

Introduction and Variations on a Theme by Mozart op. 9 Fernando Sor


(1778-1839)

Anpao Laura Snowden


(b. 1989)

Sonata no 2* Olli Mustonen


Drammatico, con rubato (b. 1967)
Misterioso, con rubato
Con fuoco

L’étoile et la Rose Laura Snowden

Introduction et Caprice op. 23 Giulio Regondi


(1822-1872)

*Julian Bream Trust commission 2017

2019
MIAMI
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

CONCERT
Wednesday, June 19
11am | Gusman Hall
Les Frères Méduses
"One of the most imaginative and exciting classical guitar duos performing today." –Guitar International

The collaboration between Benoît Albert and Randall Avers began at the Paris Conservatory in 1999. They were awarded
1ère prix for Chamber Music at the Conservatory performing music by Piazzolla, Rodrigo, Gautier and premiering a new
work by Atanas Ourkouzounov. The duo disbanded and then reformed in 2008 under the pseudonym "Les Frères Méduses"
programming folk music arrangements, classical repertoire, free improvisation and their own works.

They have performed at the Guitar Foundation of America Convention, Chicago Guitar Festival, Laguna Gloria, Austin
Classical Guitar Society, Texas Chamber Music Festival, String Theory at Hunter Museum, Oberlin Conservatory,
Nashville Virtuoso Showcase, Guitarraganza and the Gallo Center in Modesto, California and the String Festival. European
performances include the Festival de Joué lès Tours, Stavanger Gitarfestival, Théâtre Doucourneau, le Conservatoire de Nantes,
le Conservatoire de Narbonne, Norges Musikkhøyskole and Drammen Filmklubb in Norway.

The Duo has recently toured the U.S. and Europe with an original score for two guitars and violin, performed with the silent
film, The Unknown.

2019
MIAMI
Les Frères Méduses

Memoria* Joseph V. Williams II


Prelude (b. 1979)
Fantasy

Free Improvisation

Broken Grooves (2018)* Atanas Ourkouzounov


q = 126 (b. 1970)
Fluido
Andante delicato
Allegro furioso
q = 160

Free Improvisation

Rhapsodie "Mekanisk” (2018) Randall Avers


(b. 1974)

*dedicated to Les Frères Méduses

Les Frères Méduses perform on Savarez strings and Daniel Friederich guitars.

2019
MIAMI
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GFAvideo

2019
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

LUTHIER SHOWCASE
Wednesday, June 19

This is a forum for exhibitors at the 2019 GFA Vendor Expo to represent one of their guitars in a comparative
performance setting. The Showcase includes Vendor Expo luthier and guitar dealer entries. Each entrant will
2019
MIAMI
submit one guitar to be played in succession by two talented guitarists (this year Xavier Jara and Raphaël
Feuillâtre—see below), who will each play a passage of approximately sixty seconds. During the Showcase,
the instruments will be presented by number. The guitar played and its luthier/dealer will remain anonymous until all the
instruments have been heard. The corresponding luthier/dealer number list will be revealed at the Vendor Expo approximately
one hour after the conclusion of the entire Showcase.

American classical guitarist, Xavier Jara (1993), is the Rose Augustine Grand Prize Winner of
the 2016 GFA International Concert Artist Competition. A native of Minnesota, Jara was a
student of Alan Johnston at the MacPhail Center for Music in Minneapolis until 2011 when he
moved to Paris, France, to study with Judicaël Perroy.

Jara studied in Paris for six years with Perroy. During this time he completed his Bachelor’s
Degree at the Conservatoire National Supérieur de Musique de Paris where he also studied with
French guitarist Olivier Chassain and lute master Eric Bellocq. He received first place in a
number of international competitions including the Boston Guitarfest (2014), the Gargnano,
Italy Competition (2015) and the Tokyo International Competition (2016). In 2016, Jara
returned home to the United States to win the Rose Augustine Grand Prize in the GFA
International Concert Artist Competition.

Born in 1996, Raphaël Feuillâtre began classical guitar lessons at the age of nine with Hacène
Addadi at Cholet Conservatory. In 2012, he entered Michel Grizard’s class at the Conservatory
of Nantes and, three years later, he was accepted to Paris National Superior Conservatory of
Music and Dance (CNSMDP) into the class of Roland Dyens where he obtained his Bachelor
of Performing Arts degree in 2017 with highest honors. Recently, Raphaël completed his
Master’s in Classical Guitar Performance with Tristan Manoukian in 2019.

As a result of his 2018 win of classical guitar’s most prestigious competition, Guitar Foundation of America (GFA), Raphaël
completed the recording of his second opus for the Naxos Label (2019) and will set out for a nine month tour of North
America. In June 2019 he will be a featured soloist at the GFA conference in Miami followed by several tours to North America
September 2019 through April 2020. He will present solo concerts, conduct masterclasses and outreach activities in over 50
cities across the United States and Canada.

Raphaël Feuillâtre has appeared at classical guitar festivals and venues including the International Guitar Festival, Budapest,
Hungary; Festival of Guitar, Ciutat d’Elx, Spain; Guitar Art Festival, Subotica, Serbia; International Guitar Festival Jose
Tomas—Villa Petrer, Spain; UPF Guitar Festival, Brazil as well as festivals and venues in Denmark, Bosnia and Herzegovina,
Croatia, Holland, Montenegro and Argentina.

*The Guitar Foundation of America (GFA) presents the Luthier Showcase as a service to the guitar-building community.
During the Showcase, instruments must be handled by personnel and performing artists. All reasonable precautions are
taken to prevent damage to any instrument handled during the Showcase; however, GFA is not responsible for any damage
to any instrument placed in the care of GFA personnel before,during, and after the Luthier Showcase.
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

LECTURE
Wednesday, June 19
Foster
Kenneth Kam
2019
MIAMI

William Walton: The Evolution of the Five Bagatelles


The distinguished British composer, William Walton wrote numerous beloved orchestral works including Façade, the cantata
Belshazzar's Feast, the Viola Concerto and the First and Second Symphonies. His first work involving the guitar, the song cycle
Anon. in Love, was composed for tenor Peter Pears and guitarist Julian Bream in 1960. He wrote his only solo guitar work in
1972, Five Bagatelles, which he dedicated to the composer Malcolm Arnold, and was premiered by Bream in the same year.

Walton admitted that he had never thought of writing for the guitar, but was encouraged to do so by Julian Bream. This work
was written hand-in-hand between Bream and Walton in Ischia, Italy, in which Bream even provided a chart which would
explain what the guitar could do to assist Walton in his composing. There is also evidence to suggest Arnold might have helped
Walton in composing this work.

In the lecture-recital, an analysis of Walton’s guitar writing will be carried out through study and comparison with Anon. in Love
(1959), Capriccio Burlesco (1968), Scapino: A Comedy Overture (1940), and his two symphonies.

Through correspondence with Michael Donley, the scholar who wrote in detail about this work in Classical Guitar magazine
back in 1990, and worked closely in person with Bream, the evolving nature of this composition, and some interesting facts are
now unmasked.

With the permission from Oxford University Press (O.U.P.), and the William Walton Museum and Trust, I am delighted to be
able to reproduce selected pages of Arnold’s original manuscript. I am also sharing my revised arrangement of Bagatelle V, which
is based on Varii Capricci (1976)**.

Last but not least, other Walton materials I found in my research, such as a BBC Radio 3 recording from 1982 and an interview
with Julian Bream explaining the collaboration, are available at my personal website, kennethkam.wordpress.com.

**Credit to Serbian American guitarist Petar Kodzas who provided his original arrangement as a reference

Biography
Kenneth is currently pursuing the Doctor of Musical Arts degree at the Eastman School of Music where he studies with
Prof. Nicholas Goluses and serves as his teaching assistant teaching undergraduates, graduate fretboard harmony, history and
literature of guitar, guitar pedagogy and seminar in guitar studies. He is also pursuing the Master of Music in Early Music
-Emphasis in Historical Plucked Instruments, the lute and the Baroque guitar, under Prof. Paul O'Dette’s guidance.
As an active performer, Kenneth has been heard in Beijing, Malaysia, Germany, Austria, Czech Republic and Mexico. In 2017,
Kenneth performed the U.S. premier of “Hachiko” written by Fabrizio Ferraro with the Queensboro Symphony Orchestra in
New York City. In 2018, Omar Rojas wrote a solo guitar piece, “KAM(?)”, and a piece for guitar and percussion, “OME”, both
dedicated to Kenneth. As a researcher, Kenneth has presented lectures at Southeastern Oklahoma State University, the 3rd
Altamira Hong Kong International Guitar Symposium at Hong Kong Academy for Performing Arts, Hong Kong International
Guitar Forum and College Music Society.

Kenneth is on the guitar faculty at the Eastman Community Music School, where he teaches students of all ages. He is a
member of the Hong Kong Guitar Ensemble and the Eastman School of Music Collegium Musicum.
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

EDUCATION
ROUND TABLE
Wednesday, June 19

2019
MIAMI

As precollege guitar programs continue to grow across the United States, there is evermore a need for opportunities for student
engagement through performance. One of the most regarded performance events for secondary music students is the annual All-
State Ensemble provided by the constituent State Music Education Associations. As guitar education continues to position as one
of the pillars of music education in the 21st century, it is important that All-State Guitar be offered to students in every State.

This roundtable presents the narratives of individuals who spearheaded efforts to begin and sustain All-State Guitar Ensembles in
their own States. Through these presentations, attendees will receive information and advice for starting efforts towards All-State
Guitar events in their own States. After presentations, attendees are invited to participate in an active Q+A with the roundtable.

Presenter Bios
John Zevos—B.S., music education, summa cum laude, Plymouth State University; Current faculty member at Timberlane
Regional High School, Manchester Community Music School, director of the annual Timberlane Guitar Festival. John is currently
chairperson of the NH All State Guitar Committee, director of the Timberlane Guitar Orchestra, the Timberlane Community
Guitar Orchestra, the Timberlane Rock Ensemble, and the Manchester Community Music School Folk String Ensemble. He has
been guest conductor of the Boston Guitar Orchestra. In addition to performing and teaching, John spends as much time as he
can composing. His pieces for guitar orchestra have been performed by the Boston Guitar Orchestra, the Rhode Island and New
Hampshire All State Guitar ensembles, and at the Mid-Maryland Guitar Festival. John performs regularly with Ben Rudnick
and Friends, Lichen, Divergent Strings, Celtic Knot, and others.

Glen McCarthy—For over 20 years, Glen McCarthy has taught class guitar, required of all music education majors and guitar
pedagogy at George Mason University. He has been a guest lecturer, clinician and adjudicator at festivals, conferences and
workshops both nationally and internationally. He is the past chair of the NAfME Council for Guitar Education, the past chair of
the ASTA Guitar-in-the-Schools Committee and a co-chair and clinician for Teaching Guitar Workshops. Mr. McCarthy retired
from Fairfax County, Virginia after 30 years at Robinson Secondary School where he developed a multi-level guitar program.
Robinson was the first recipient of the Guitar & Accessories Manufacturers Association’s award to recognize innovative guitar
programming in the United States. Under his direction, the Robinson Guitar Ensemble performed in numerous venues and was
consistently awarded superior ratings at adjudicated festivals. In 2014 from over 32,000 nominees the Grammy Foundation
recognized Glen as one of the top ten music educators in the United States. He continues to perform in numerous venues
and genres.

Matthew Nishimoto—Matthew Nishimoto is the Education Coordinator for the GFA. He has taught the guitar classes and been
the director for the guitar ensembles at Coronado High School in Henderson, Nevada since 2003. His award-winning program
has been recognized by the GFA, the Grammy Foundation, and NAfME. Dr. Nishimoto earned a B.A. in Music Ed from UNLV,
where he also received a M.Ed. in Educational Leadership and a Ph.D. in Teacher Education. His research into the issues of new
teachers led him to the topic of the role of expertise in instruction—the target of inquiry of an ongoing overarching study regarding
the expert blind spot effect and guitar pedagogy.
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

CONCERT
Wednesday, June 19

Raphaella Smits

Raphaella Smits plays worldwide in her unique way on eight-string guitars and historical instruments. Recognized as ‘an
uncommonly musical guitarist’ (Tim Page, New York Times), she always commits to the soul of the music. Her solo recitals as
well as her performances with the most distinguished colleagues always meet enthusiastic audiences and press. Besides stage-
work, Raphaella Smits has made 21 recordings, many of them being listed as indispensable to refined music lovers.

Raphaella Smits is internationally praised as an inspiring teacher for both guitar and chamber music. In addition to her chair
at the Lemmens Institute in Leuven, Belgium, she regularly gives master-classes in West and East Europe, in North and South
America and in Japan.

Organizers of international music competitions ask Raphaella as a member or as president of the jury because of her ability to
listen and to judge so accurately. Here again she shows her talent to combine professional skills with a great sense of empathy.

Raphaella studied classical music at the Royal Conservatories of Antwerp and Brussels. She also went to José Tomàs to perfect
her playing at the "Catedra Andrès Segovia" in Spain. At that time she was giving her first recitals and became a persuasive
advocate of the eight-string guitar.

In 1986 Raphaella Smits was the first woman to win the first prize of the "XX Certamen Internacional de Guitarra Francisco
Tarrega", the famous international guitar competition in Benicasim, Spain. That victory confirmed the progress of a successful
career, which over the previous years had included prizes in the Granada and Palma de Mallorca contests. Chairmen Andrès
Segovia and Narciso Yepes, both expressed their admiration for Raphaella's musicality and put prophetically confidence in her
future achievements.

Today Raphaella Smits is called quite rightly ‘une Grande Musicienne’ and ‘one of the most delicate and most cultivated
performers of our time’ (Jean Bernard, Diapason, FR).

More info at http://www.rsmits.com


Raphaella Smits

Hommage to the Baroque

Suite Manuel María Ponce


Prelude (1882-1948)
Allemande
Sarabande
Gigue

Suite II Henry Purcell


Prelude (1659-1695)
Allemand
Corant
Saraband

Fantasie 9 Georg Philipp Telemann


Siciliana (1681-1767)
Vivace
Allegro

from Partita for Violin No. 2, BWV 1004 Johann Sebastian Bach
Chaconne (1685-1750)

Raphaella Smits plays Savarez strings on a 1980 John Gilbert guitar.

2019
MIAMI
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

CONCERT
Wednesday, June 19
8pm | Gusman Hall
Marcin Dylla

Hailed by Washington Post as “among the most gifted guitarists on the planet” Polish guitarist, Marcin Dylla is a rare
phenomenon in the recent history of classical guitar. Many music critics, connoisseurs, and music lovers certify that Marcin
Dylla is among the world’s elite of classical guitar players. He has earned this position, among others, from the unparalleled
number of awards including 19 First Prizes from 1996-2007 at the most prestigious international music competitions around
the world. His last triumph was the Gold Medal of the ‘2007 Guitar Foundation of America International Competition’ in Los
Angeles known as the most prestigious guitar contest in the world followed by a tour of over 50 cities in North America, Mexico
and Canada during the 2008-09 season, live recital video recording for Mel Bay Publications and CD recording for Naxos
that reached the Naxos ‘Top 10 Best selling Albums’ in September 2008. His live recital DVD Wawel Royal Castle at Dusk was
nominated for 2010 Fryderyk Award (equal to an American Grammy) in the category of Solo Classical Music Album of the Year.

Mr. Dylla made his Concertgebouw recital debut in November 2016 during a busy 2016/2017 season where he was also the
appointed faculty in residence at the San Francisco Conservatory of Music for the Fall 2016 semester. Recent tour highlights
included return invitations to Mexico, Chile, and recitals throughout Asia including Japan in Tokyo, Nagoya, Fukuoka,
Hiroshima, and Hokkaido. In Taiwan at Taipei National Concert Hall with Taipei Symphony Orchestra, and Carnegie Hall
debut during a two-month tour of North America with recitals covering both coasts. In Europe, he returned to Konzerthaus in
Vienna and is invited to appear at the Koblenz International Guitar Festival and Competition, a major festival for the classical
guitar each year, where he is a beloved regular.

In 2006, Cecilia Rodrigo, daughter of the legendary Spanish composer, Joaquin Rodrigo, chose Mr. Dylla to perform the world
premiere of a lately discovered new guitar work by her father entitled Toccata (1933) at Reina Sofia Museum of Modern Art in
Madrid. In 2002, at the 7th International Guitar Convent in Alessandria, he was granted a “gold guitar” musical critics’ award
for the best coming young guitar player.

Marcin Dylla was born in Chorzow in 1976 and received his first guitar lessons at the Ruda Slaska Music Conservatory in his
native Poland. From 1995 to 2000 he studied at the Music Academy of Katowice with Adi Wanda Palacz and later completed
his studies with Oscar Ghiglia, Sonja Prunnbauer and Carlo Marchione at the Music Academies of Basel (Switzerland), Freiburg
(Germany) and Maastricht (The Netherlands), respectively. He is currently a Professor of Guitar at the Music Academy in
Katowice and Westfälische Wilhelms-Universität Münster.

Please visit www.marcindylla.com for more information.


Marcin Dylla

Sonata no. 3 Carlos Guastavino


Allegro preciso e ritmico (1912 - 2000)
Adagio
Allegro

Tiento Maurice Ohana


(1913 – 1992)

Homenaje pour Le tombeau de Claude Debussy Manuel de Falla


(1876 – 1946)

Segoviana Darius Milhaud


(1892 – 1974)

Serenade Sofia Gubaidulina


(b. 1931)

Shard Elliott Carter


(1908 – 2012)

Kitab 1 Jose M. Sanchez-Verdu


(b. 1968)
Intermission

Nocturnal op.70 Benjamin Britten


(1913 - 1976)

Theme, Variations and Fugue on Folia de España Manuel María Ponce


(1882 - 1948)

Tonight's concert was generously sponsored by D'Addario.

2019
MIAMI
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

CONCERT
Wednesday, June 19
8pm | Gusman Hall
Youth Guitar Orchestra
Chuck Hulihan, Conductor

Chuck Hulihan has enjoyed a career over the past twenty years as a performer, educator, conductor, narrator, and as a classical
radio host. Chuck has directed the Guitar Program at Glendale Community College since 1999, where in 2015 he was chosen
by his peers to receive the GCC Gaucho Globe Award for Supporting Student Success. His work at GCC is highlighted by
collaborations with composers who have written new works for the GCC Guitar Ensembles, including Mark Houghton’s
Twangology and Frippertron, Rex Willis’ All In A Days Work and 18 and 49, and Vito Nicola Paradiso’s Refractions in the Arizona
Desert. Since 2000, his students have consistently won the Artists of Promise competition for solo guitar and instrumental
ensemble categories, and in 2014 the GCC Guitar Octet won the GFA Ensemble Showcase Competition and went on to
perform two world premieres at the 2014 GFA Convention.

Chuck’s work as a conductor has included over 50 concerts directing the GCC Guitar Ensembles and includes leading large
ensembles comprising students from high school, college, and guitar society ensembles. Since 2015 Chuck has served as guest
conductor for the Vanguard University Guitar Festival Ensemble leading ensembles of up to 150 guitars. Chuck directs the
Arizona Guitar Orchestra, a collaboration of musicians from across Arizona’s schools and guitar societies. The AZGO programs
have showcased music by Mark Houghton and Annette Kruisbrink, and featured works including Concierto de Los Angeles by
Shingo Fujii and Once We Moved Like the Wind by Brad Richter. In 2017, Chuck conducted the AZGO and the Los Angeles
Guitar Quartet for the world premiere of Andrew York’s By Chants. He serves as Western Division Representative on the
NAfME Council for In-Ovations and sits on the boards of both the Grand Canyon and Phoenix Guitar Societies.

Youth Guitar Orchestra

Guitarchestra No. 10 “Festive”* Mark Houghton

*world premiere

50
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GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

LECTURE
Thursday, June 20

Thomas Kikta
2019
MIAMI

Mindful Learning in Practice and Performance


How can one perform on stage with the same level of comfort and ease experienced in the practice room? The answer is addressed
through a presentation of Mindful Learning, an approach which develops physical habits of movement, as well as mental
habits for minimizing confusion and error. The ability to sustain concentration and focus solely on essential information is the
foundation for minimizing anxiety. The discussion of mindful learning encompasses techniques of “pre-reading,” “vocalization/
solfege,” as well as testing one’s memory to develop solid habits of visualization and memorization to ultimately implement
in performance. These techniques will not only be shown how to be applied in one’s own development but also how best to
implement this in one’s teachings. Musical examples and group participation will be utilized. All participants will receive
complimentary sample teaching materials and resource sheets.

Biography
As a Classical Guitarist, Vocalist, Composer, Pedagogue, Producer, Audio Engineer and Author Thomas Kikta is a versatile artist
who has been at at Duquesne University in Pittsburgh, PA. for over thirty years. He is the Area-Coordinator of the Classical Guitar
Department and the Chair of The Contemporary Music Media and Jazz Program.

A native of Pittsburgh, he studied Classical Guitar performance with Aaron Shearer at both the Peabody Institute of the Johns
Hopkins University and at the University of North Carolina School of the Arts. He has performed around the country, including
collaborations with the School of American Ballet, Ricardo Cobo, Manuel Barrueco and for such dignitaries as Maya Angelou and
Toni Morrison. He enjoyed a collaboration with New York City Ballet where he composed and performed his guitar centric ballet
at Lincoln Center called “ten in seven” and just premiered his fifth ballet A Winter’s Thaw with The School of American Ballet.
After working closely with Aaron Shearer for over 28 years, he with Mr. Shearer coauthored the 3rd edition of the best selling and
benchmark work Classic Guitar Technique Vol 1 published by Alfred Publications, which was nominated for “Best Instructional
Book or Video for 2009” by Music and Sound Retailer.

He was invited to write The Complete Idiots Guide to Classical Guitar Favorites which was published by Alfred Publications in 2010.
His most recent works are The Shearer Method Classic Guitar Foundations, The Shearer Method Classic Guitar Developments and The
Shearer Method Learning the Fingerboard all multimedia experiences with over 140 high definition videos, 150 new compositions by
Dr. Alan Hirsh, active online support and new writings by Aaron Shearer prior to his passing in 2008. Mr. Kikta has also written
for Alfred’s Masterwork Editions, Carcassi: Melodic and Progressive Etudes Op.60 (2016) exploring the fingerings, lessons and perfor-
mance notes from the perspective of Aaron Shearer’s teachings.

As the Executive Vice-President of the Aaron Shearer Foundation, Mr Kikta lectures around the country at conservatories, conven-
tions and music festivals including “The Shearer Summer Institute at Zion National Park”, a weeklong festival that combines guitar
and the love of high country hiking into one amazing event.

Thomas Kikta is an artist endorsee for Alfred Publishing, Alhambra Guitars, D’Addario Strings, Line 6 and Fishman Electronics.

52
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

RESEARCH RESOURCES
ROUNDTABLE
Thursday, June 20
2019
MIAMI
General Editor, Soundboard Scholar

Presenters And Topics

1. Jan de Kloe, “AbeMusicQ – A Chamber-Music-with-Guitar Database of Scores”


AbeMusic began its life as an effort by Abel Nagytothy-Toth to catalog all known scores of music for guitar or lute in
combination with other instruments. The current state of this project is hosted on the site www.vpmusicmedia.altervista.org/
book.php#Database.

AbeMusiQ is an enhanced database developed by today’s first presenter, Jan de Kloe. Currently containing more than 40,000
items, it supersedes previous efforts in several respects. Originally the database was developed to work with MSWORKS which
was a licensed product from Microsoft; currently the Microsoft product can be obtained for free. The drawback of the earlier
database tool was its user-unfriendliness. AbeMusiQ is here proposed as a simpler user interface, offering pushbuttons to query
the database on composer name. Further functions are available to determine where editions can be found and ordered. In case
of historical scores in collections and libraries, internet addresses are provided. The interface is free – the data has a one-time
license fee.

2. Robert Coldwell, “The Digital Guitar Archive—Recent Developments”


Distributed by the convener, Thomas Heck. The Digital Guitar Archive has already established itself as a uniquely valuable
resource within the world of guitar research and publication. The DGA site will quickly reveal its valueto those who visit it. In
this 2-page written presentation, Mr. Coldwell provides us with updates regarding both his DGA EDITIONS and the online
DIGITAL GUITAR ARCHIVE itself.

Biography
Thomas F. Heck (Ph.D., Yale University, 1970; MLS, Univ. of Southern California, 1977), the host of the Research Resources
Round Table, served as the point person for the creation of the Guitar Foundation of America itself in 1973. He also managed,
in the course of 2012, the project to digitize the Soundboard back issues (Vols. 1-36). As a Fulbright fellow (Vienna, 1968-69)
he did seminal research on the early classic guitar (ca. 1800) and the life and works of Giuliani. His book, Mauro Giuliani: A
Life for the Guitar (2013), now an updated e- book in the GFA Refereed Monographs Series, is considered the standard work in
the field. For over twenty years Dr. Heck served as the GFA Archivist. In 1994-95 he was a Fellow at the Netherlands Institute
for Advanced Study in the Humanities and Social Sciences (NIAS), where he undertook research on the iconography of the
performing arts—the subject of the book, Picturing Performance: The Iconography of the Performing Arts in Concept and Practice
(1999). He has served as adjudicator and lecturer at various international guitar festivals since 1980, and currently is a freelance
consultant, musician, and writer/lecturer based in Santa Barbara, California. Heck has served most recently as General Editor
of the GFA refereed journal, Soundboard Scholar (2014– ).
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

ICAC PRELIMINARY ROUND


Monday, June 17–Tuesday, June 18
ALL DAY | Clarke Hall

The preliminary round of the 2019 GFA International Concert Artist Competition will take place on Monday from
10am-5pm and Tuesday from 9am-1pm in Clarke Hall. For audience members who do not attend the entire sequence of
performances, we ask that you enter and leave the hall only during applause breaks.

The competitors and judges appreciate the audience’s consideration of competition protocol: hold applause until each
competitor has finished his/her entire set; enter and leave the hall only during applause and breaks; and turn off all handheld
devices. All competitors will perform their program as printed in the program book and the set piece by Pat Metheny,
commissioned by the GFA for the 2019 International Concert Artist Competition. Results of the preliminary round will be
announced at the beginning of the 8:00pm Yamandu Costa event in Gusman Hall.

ICAC SEMIFINAL ROUND


Thursday, June 20

The semifinal round of the 2019 GFA International Concert Artist Competition will take place on Thursday, June 20, at
10am-5:15pm in Gusman Hall. For those that do not attend the entire sequence of semifinal performances, we ask that
you enter and leave the hall only during applause breaks.

The competitors and judges appreciate the audience’s consideration of competition protocol: hold applause until each
competitor has finished his/her entire set; enter and leave the hall only during applause and breaks; and turn off all
handheld devices. All competitors will perform their program as printed in the program book, plus the required piece,
Fantasia, by Roberto Gerhard. Results of the semifinal round will be announced at intermission of the 8:00pm Brasil
Guitar Duo concert in Gusman Hall.

2019
MIAMI
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

LECTURE
Thursday, June 20

2019
MIAMI

The Musical Bonsai


Classical guitar, together with harp, is one of the most difficult instruments to write music for! Being so extremely idiomatic,
many a composer had given up the idea of writing for it altogether, and lots of potentially good, or perhaps even great music
has been lost to the musical world due to that fact. If you want to write for violin or flute and you’re not a violinist or flutist you
resort to the orchestration book. If you want to write for guitar, things are not that simple, even if you are a guitarist.

Proposed lecture will explore and try to shed some more light on the challenging business of writing for classical guitar. It
is based on “The Musical Bonsai”, book that Vojislav is currently working on, which is an attempt to create comprehensive
text-book on technique and art of writing, or as he prefers to call it, orchestrating for classical guitar. Aimed at composers and
guitarists alike, the lecture will start with the quick overview of many different aspects of the problem of guitar orchestration
and will then focus in more detail on some of them such as: Melody Versus Harmony on Guitar; Expressive and Technical
Potential of Different Strings; Creating Charts for Managing Chords and Polyphonic Textures. Several examples of great guitar
music as well as some of Vojislav’s own work will be listened to and analyzed as to what makes them sound and “work” well.
Above all, the main point of the lecture is to pose, and give some answers, to the questions: what makes guitar, despite its severe
limitations, so magical? And furthermore: how come that one of the quietest instruments has been so often compared to an
orchestra?

It is the answers to these questions that may present some important clues on how to write effectively for classical guitar. And,
although the good knowledge of technical and expressive abilities of the instrument are essential for writing for it, the main clue,
which the lecture wants to point to, is that it is the timbre that makes guitar so unique and sound “bigger” than it is.

In author’s own words: “The musical world of classical guitar stands to that of an orchestra much the same as the Bonsai stands
to a fully grown tree!”

Biography
“...keen intelligence allied to a refreshing musical sensibility...”
(Colin Cooper, Classical Guitar Magazine, London)
Music of Vojislav Ivanovic, world-renowned guitarist and composer, has been described by critics as "superbly written" and
"indescribable but indescribably delicious". His unique style utilizes elements of contemporary classical, traditional and jazz
music. Born in Sarajevo where he started playing guitar at the age of 10, Vojislav studied guitar first with Darko Petrinjak at the
Zagreb Music Academy (Croatia) and later at the Athens Conservatory with Costas Cotsiolis obtaining his Soloist Diploma in
Classical Guitar. His early interest in composition led to studies at the Music Academy of the University of Sarajevo with Vojin
Komadina where he was awarded Master Degree in Composition with distinction.

In addition to his performance tours, composing and recording, Vojislav Ivanovic is highly sought after for his teaching and
masterclasses and is a member of juries at international and domestic guitar festivals and competitions earning a reputation as a
respected and devoted pedagogue of the classical guitar and composition. Tonebase.co, a U.S. based classical guitar instruction
website, offers his masterclasses. The prestigious publishers Chanterelle Zimmerman and Doberman Yppan are publishing his
music. He is a founder and artistic director of the Guitar United – International Guitar Festival Sarajevo East.
When not touring, he currently teaches guitar at the Music Academy of the University of East Sarajevo.

www.vojislavivanovic.com
55
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

LECTURE
Thursday, June 20

2019
MIAMI

A Performance Guide to Roland Dyens' Jazz Arrangements


This lecture will explore several of Roland Dyens’ arrangements of popular jazz pieces from his collections Mes Arrangements a
l'Amiable and Night and Day. This examination will include information on the harmonic and structural aspects of the pieces;
historical and biographical details about relevant styles and artists, as well as Dyens’ allusions to them in his arrangements; and
discussion of solutions to difficult passages and extended techniques within the arrangements, all with an eye towards producing
more accurate interpretations of the pieces.

Biography
American classical guitarist and entrepreneur Dr. Ben Lougheed’s playing has been described as “extremely precise” while having
“dramatic power and lyric beauty.” Ben has performed as a guest soloist at guitar societies, universities, and concert series around
the United States and has been featured on several radio and television programs.

Ben has been awarded numerous prizes including the Charlie Byrd Memorial Endowed Scholarship in guitar, The Frank Longay
Memorial Scholarship, and multiple grants from the Rislov Foundation. He has also been invited to present by the Guitar
Foundation of America, the Tallahassee Council on Culture and Arts, and the Florida Guitar Festival, and was one of only two
musicians chosen for the Knight Foundation’s inaugural Tallahassee Arts Entrepreneurs Institute. His debut album is set to be
released in summer 2019.

Ben worked as the President of the Classical Guitar Society at FSU for three years and organized dozens of concerts in diverse
venues around Tallahassee including churches, hospitals, middle and high schools, restaurants, as well as guest artists recitals at
FSU. In this role, Ben also served as the Co-Founder and Director of the Florida Guitar Festival, a weekend-long event that features
masterclasses, concerts, lectures, guitar showcases, and a multi-division competition with individuals from around the world.

An enthusiastic teacher, Ben has worked with hundreds of students of all ages and currently has a studio of over 35 students in
Tallahassee, FL. His students have earned top marks at Solo and Ensemble, and other similar festivals as well as been accepted to
the All-State and All-National Ensembles.

Ben was also one of the co-founders and artistic directors of the Tallahassee chapter of Classical Revolution. Under his leadership,
the organization gave 30 concerts that showcased the talents of over 150 different performers and became a fixture in the
Tallahassee music scene.

Ben began his guitar study at the age of six with the esteemed Suzuki teacher Marylou Roberts. He then earned his Bachelor of
Music in Guitar Performance from the Peabody Institute of Johns Hopkins University, studying with department chair Julian Gray.
Ben completed his formal education under celebrated pedagogue Bruce Holzman at Florida State University, earning his Master of
Music and Doctor of Music in Guitar Performance along with a certificate in Music Education and Leadership, all while serving as
a graduate teaching assistant. He has also participated in masterclasses with many of the most accomplished guitarists in the world,
including David Russell, Jason Vieaux, Ana Vidovic, Alvaro Pierri, Zoran Dukic, Marcin Dylla, Rene Izquierdo, Lorenzo Micheli,
Judicael Perroy, Paul Galbraith, Pavel Steidl, Denis Azabagic, Jorge Caballero, and William Kanengiser.
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

CONCERT
Thursday, June 20
8pm | Gusman Hall
Brasil Guitar Duo
Brasil Guitar Duo, a 2006 winner of the Concert Artists Guild International Competition, and hailed by Classical Guitar
magazine for its “maturity of musicianship and technical virtuosity,” is equally at home on a classical or a world-music series
or performing a concerto with orchestra. João Luiz and Douglas Lora met in São Paulo as teenage guitar students and their
successful partnership of over twenty years results from their innovative programming—which features a seamless blend of
traditional and Brazilian works—leading to a busy global touring schedule and a growing catalogue of critically acclaimed
recordings.

Committed to performing new chamber music employing the guitar, the Duo joined cellists Yo-Yo Ma and Carlos Prieto for the
October 2014 world premiere of El arco y la lira, a work for two cellos and two guitars by the esteemed Cuban composer Leo
Brouwer. On the same program—a highlight of the sixth annual Festival Leo Brouwer in Havana—the Duo gave the Cuban
premiere of Brouwer’s Sonata de Los Viajeros, which they had presented in its U.S. premiere the previous month and recorded for
a Naxos CD of Brouwer’s complete works for two guitars, which was nominated for a 2016 Latin Grammy award for Best New
Composition.

Eager advocates for both traditional and new concerti for two guitars and orchestra, the Duo premiered a Concerto for Two
Guitars and Orchestra by Brazilian composer Paulo Bellinati with the São Paulo Symphony Orchestra in June 2012, under
the direction of Giancarlo Guerrero, and gave the work its U.S. premiere in April 2013. In February 2016, they recorded the
Bellinati concerto along with Leo Brouwer’s concerto Book of Signs with the Delaware Symphony Orchestra and conductor
David Amado, and that Naxos CD—also entitled Book of Signs—was nominated for a 2018 Latin Grammy award for
Best Classical Album. Additional career concerto highlights include the Dallas Symphony, Houston Symphony, Dayton
Philharmonic, Lancaster (OH) Symphony, plus, the Duo has appeared internationally on major concert series and at festivals in
Cuba, Germany, England, Canada, South Korea, Colombia, Brazil, Austria, Panama, Poland, and Bermuda.

Very active in the recording studio, the Duo’s latest release is Ghosting, (CAG Records; July 2017), featuring their unique
mixture of both classical and Brazilian music, including their own compositions and the title track written for them by guitar
master David Leisner. This recording is very similar in spirit to the Duo’s first CAG Records CD, Bom Partido (2007), featuring
all Brazilian repertoire that prompted Classical Guitar to write: “The maturity of musicianship and technical virtuosity displayed
on this debut recording by João Luiz and Douglas Lora is simply outstanding...The original compositions by Lora comfortably
stand alongside the ‘big names’ on the rest of the programme and are well crafted and very appealing.” Next came two critically
acclaimed CDs containing the complete works for two guitars by Mario Castelnuovo-Tedesco, released by Naxos in 2008-09.
The Duo has also won praise for its recent CD (Avie) in collaboration with flutist Marina Piccinini featuring all of J.S. Bach’s
flute sonatas, as arranged by the Duo for flute and two guitars.

Brasil Guitar Duo actively strives to expand the repertoire for two guitars, with Lora contributing works of his own and Luiz
arranging both classical and Brazilian music. Appearing frequently in diverse non-traditional spaces, the Duo combines a broad
repertoire of classical guitar duos (Bach, Sor, Scarlatti, Rameau, Debussy, etc.) with such traditional Brazilian dance forms as
choro, samba, maxixe, and baião.

58
Brasil Guitar Duo

Piece de Clavecin Jean-Philippe Rameau


Allemande (1683-1764)
Les Cyclopes

Prelude and Fugue in C# Minor Mario Castelnuovo-Tedesco


(1895-1968)

Still* Frederic Hand


(b. 1947)

Allegrinho Egberto Gismonti


Sete Aneis (b. 1947)

Intermission

Sonata de los Viajeros Leo Brouwer


Primer viaje a Tierras heladas (b. 1939)
El Retablo de las Maravillas – La Venus de Praxiteles
Visita a Bach en Leipzig
Por al Mar de las Antillas

A Fala de Paixao Egberto Gismonti


Karate**

*Dedicated to Brasil Guitar Duo


**arr. Joao Luiz

This evening’s concert was generously sponsored by Stringletter.

2019
MIAMI 59
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

LECTURE
Friday, June 21
9am | Room: WML 210
Juan Oscar Azaret 2019
MIAMI

Those Mysterious Existences


This multimedia presentation/demonstration will explore the continuum of phenomena from the player’s attack of the string to
the musical perception and psychoacoustics of the listener. It will link together the player’s plucking technique, the behavior of
the string, the transmission of energy through the bridge to the guitar system, the various vibrational modes of the guitar, the
propagation of sound within the room acoustics, and the physiology of human sound perception.

To palpably illustrate the physics and physiology we will use live vibrational equipment, audio instrumentation, pre-assembly
guitar parts, animated slides, videos, and actual playing. These various props together with slides and discussion will explain the
practical physical phenomena of tone production and perception on the classical guitar. The understanding of these phenomena
will be associated with playing technique, lutherie, room acoustics, and listener perceptions.

It is a great mystery, this thing, our experience of the guitar. In the words of Federico Garcia Lorca:
… And like the tarantula spins a great star to ensnare sighs, that float in its dark cistern of wood…
This presentation will decompose that mystery into physical fragments, but with the understanding that the whole is greater than
the sum of the parts. The goal being that with a better perspective of these fragments, the artist will have additional insights with
which to create the mystery.

The presenter, a luthier, engineering, amateur guitarist, and educator has evolved this lively, fun presentation over the last decade,
as class curricula and for presentations at various universities, guitar festivals, community centers, the Guild of American Luthiers
Convention, Acoustical Society of America Convention, the Martin Guitar factory, and others.

Biography
Oscar currently keeps busy as a luthier, physics and engineering professor, and Executive Director of the Boston Classical Guitar
Society. A native of Cienfuegos Cuba, Oscar has also lived in Miami, East Tennessee, California, and Massachusetts. He holds
a master’s degree in electrical engineering from Stanford University and a BSEE from the University of Tennessee. He is a
contributing author to the Guild of American Luthiers and active member of the Acoustical Society of America.

Oscar worked for over 3 decades in the Boston area for Bell Laboratories, and subsequent spin-offs in the fields of communication
systems and semiconductors. During this time, he also studied and honed the craft of lutherie, built his workshop and collected
wood. Passionate for the sound, aesthetics, and science of the classical guitar, Oscar strives to go beyond the craft and explore the
underlying physics and physiology which endow the classical guitar with its enduring human appeal. He has lectured extensively
and published articles on these topics at various universities, conventions and institutions.

Oscar resides in North Andover Massachusetts with his wife Leslie. He has two grown children—Julian and Lydia, currently
working in Melbourne AU, and Denver, respectively. When not in the workshop or classroom at Northern Essex Community
College, Oscar tries to keep up with his family’s outdoors adventures.
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

LECTURE
Friday, June 21
10am | Room: WML 210
Alan Hirsch and
Thomas Kikta
2019
MIAMI
Teaching the Fingerboard
For most beginners, the fingerboard with its 19 frets and 120+ notes is daunting. After mastering the open position, when and how
should one begin learning the fingerboard? While there are many methods and approaches available, one of the most secure is based
on the idea that students learn best when the fingerboard is studied one position at a time. In this way, students avoid distracting
left-hand shifting while firmly relating upper-position notes in a harmonic/key context with surrounding strings.
This session offers a step-by-step approach, beginning with an overview of the five fixed- position scale forms. When transposed to
positions II, IV, V, VI, VII, and IX these provide a technical basis to learn notes related to available guitaristic keys. Scales forms are
then applied to melodies in rhythmically graded duets in each position. Other topics include interval reading, and left-hand position
awareness in both solo and ensemble music. A booklet of teaching materials will be distributed to all attendees.
Alan Hirsch Biography
Jim McCutcheon earned a B.S. in Physics from the University of Dayton in 1973 and postponed a medical school acceptance to
tour with a band. When the tour concluded, he knew music would be the best career for him, and he returned to Dayton, studying
music at Wright State University, where he received a B.M. in Guitar Performance and later a M.M in Music Education.
As a member of the Ohio Arts Council Touring Roster, Jim has performed on concert series in the USA and abroad. For the past
40 years as "The Guitar Man, he has done workshops, school assemblies and residencies for children pre-K – 12 and also workshops
for teacher training. He has made four recordings for adults as well as three specifically for children. He has several publications of
guitar compositions and instruction books to his credit, and has written a variety of magazine articles published in the U.S.A. and
England. In part due to his extensive work in schools developing programs relating science and the arts, Jim was awarded the 2017
Governor’s Award for the Arts in Arts Education.
Jim reviews recordings for Soundboard, and also also serves as Guitar Adviser to the National Federation of Music Clubs. His
recent work with the Ohio Music Educators Association resulted in the guitar being added to the organization’s contest lists. Jim
can be heard weekends on Dayton Public Radio’s “The Intimate Guitar,” which he has produced since 1986. It can be streamed at
discoverclassical.org.

Thomas Kikta Biography


As a Classical Guitarist, Vocalist, Composer, Pedagogue, Producer, Audio Engineer and Author Thomas Kikta is a versatile artist
who has been at at Duquesne University in Pittsburgh, PA. for over thirty years. He is the Area-Coordinator of the Classical Guitar
Department and the Chair of The Contemporary Music Media and Jazz Program.
A native of Pittsburgh, he studied Classical Guitar performance with Aaron Shearer at both the Peabody Institute of the Johns
Hopkins University and at the University of North Carolina School of the Arts. He has performed around the country, including
collaborations with the School of American Ballet, Ricardo Cobo, Manuel Barrueco and for such dignitaries as Maya Angelou and
Toni Morrison. He enjoyed a collaboration with New York City Ballet where he composed and performed his guitar centric ballet at
Lincoln Center called “ten in seven” and just premiered his fifth ballet “A Winter’s Thaw” with The School of American Ballet.
After working closely with Aaron Shearer for over 28 years, he with Mr. Shearer coauthored the 3rd edition of the best selling and
benchmark work “Classic Guitar Technique Vol 1” published by Alfred Publications, which was nominated for “Best Instructional
Book or Video for 2009” by Music and Sound Retailer.
He was invited to write “The Complete Idiots Guide to Classical Guitar Favorites” which was published by Alfred Publications
in 2010. His most recent works are “The Shearer Method Classic Guitar Foundations”, “The Shearer Method Classic Guitar
Developments” and “The Shearer Method Learning the Fingerboard” all multimedia experiences with over 140 high definition
videos, 150 new compositions by Dr. Alan Hirsh, active online support and new writings by Aaron Shearer prior to his passing
in 2008. Mr. Kikta has also written for Alfred’s Masterwork Editions, Carcassi: Melodic and Progressive Etudes Op.60 (2016)
exploring the fingerings, lessons and performance notes from the perspective of Aaron Shearer’s teachings.
As the Executive Vice-President of the Aaron Shearer Foundation, Mr Kikta lectures around the country at conservatories,
conventions and music festivals including “The Shearer Summer Institute at Zion National Park”, a weeklong festival that combines
guitar and the love of high country hiking into one amazing event.
Thomas Kikta is an artist endorsee for Alfred Publishing, Alhambra Guitars, D’Addario Strings, Line 6 and Fishman Electronics.
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

CONCERT
Friday, June 21
11am | Gusman Hall
Irina Kulikova
Unanimously acclaimed for the rare beauty of her tone and her enchanting presence on stage, Irina Kulikova has established
herself as one of today’s leading guitarists. Soundboard magazine wrote: “Some of the most sheerly beautiful playing I have ever
heard.” And Luz Leskowitz, director of the Salzburger Schlosskonzerte in Austria, that accompanied her in concerts for royal
and aristocratic families in Europe: “Wherever she performs, she plays herself into the hearts of her audience.”

Irina Kulikova tours far afield, with appearances at leading festivals in Europe, North America and Asia and in concert halls
such as the Amsterdam Concertgebouw, the Tchaikovsky Hall in Moscow, the Palau de la Musica in Valencia, the Musashino
Hall in Tokyo and the Oriental Arts Center in Shanghai. In the USA, she has performed for major festivals and societies
including Austin, Cleveland, Chicago and Dallas. In the 2019-2020 season, she is invited by guitar series and festivals of San
Francisco, Baltimore, Boston and New York, amongst others.

The daughter of a Russian cello pedagogue, Irina Kulikova combines an effortless virtuosity with a profound sensitivity when
she is phrasing the voices of great composers like Bach, Chopin, Debussy, Barrios and Piazzolla. 'Few can tell us something
so special as she does’ (Carlo Marchione). She gained critical acclaim for her fourth solo CD – ‘Reminiscences of Russia’
– introducing some highly romantic Russian compositions to an international audience, including the breathtaking ‘Swan
Princess’, that Konstantin Vassiliev dedicated to her.

Irina Kulikova has received over 30 awards for her artistry, including 1st prizes at the highly prestigious competitions of Michele
Pittaluga in Italy, Guitarra Alhambra in Spain, Forum Gitarre Wien in Austria and Iserlohn in Germany. She resides in The
Hague (The Netherlands), Los Angeles (USA) and Salzburg (Austria). An ambassador of pure and heartfelt performing, she
inspires guitar students in master classes all over the world with her personal motto: It’s about the touch.

2019
MIAMI
Irina Kulikova

Noches de San-Lorenzo Jose Maria Gallardo del Rey


Preludio (b. 1961)
Buen Aire
Plaza

Three Night Ballads* Konstantin Vassiliev


“In a shadow of the Sunset” (b. 1970)
Queen of Clear Night
Magic Ship

Sonatina Federico Moreno-Torroba


Moderato (1891-1982)
Andante
Allegro

*Dedicated to Irina Kulikova

Irina Kulikova plays a Simon Marty guitar and Savarez strings.

2019
MIAMI
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

CONCERT
Friday, June 21
11am | Gusman Hall
Iliana Matos

Prize winner of eleven major international competitions, including first prizes in the Andrés Segovia in Palma de Mallorca,
Luys Milán, and Manuel Ponce International Guitar Competitions. She made history by becoming the first woman to win the
prestigious S.A.R. La Infanta Doña Cristina International Guitar Competition, and the only person to win the special prize for
Best Interpretation of Spanish Music in two consecutive years, 1995 and 1996.

Her highly acclaimed GSP CD Angels in The Street has earned universal acclaim from critics, placing her among the elite of
today's classical guitarists: “Her name deserves to go down in guitar history as one of the great players of our time.” (Classical
Guitar Magazine); “a match-made-in-heaven recording that is about as perfect as guitar records get... she simply, radiantly shines,
a virtuoso in service to the music” (American Record Guide); “she has sufficient of all credentials necessary to take her place in
the annals of guitar as one of its truly gifted and outstanding exponents” (Musicweb-international.com), “it’s impossible while
listening to ‘Angels’ to believe that her name will not someday ring the same peal of recognition as does Bream and Williams”
(Minor7th.com).

María Luisa Anido, when hearing Iliana play, wrote: “I am impressed by your wonderful guitaristic art, and I am proud to know
that a woman (and a Cuban woman!) came to such a degree of artistic perfection.”

Over the past three decades, Iliana Matos has established herself as one of the world’s preeminent classical guitarists. As part of
her world tour “Celebrating 30th Anniversary as a Performer,” legendary Cuban-Spanish virtuoso Iliana Matos completed a tour
of 19 cities in China, including a concert at the prestigious Shenyang International Guitar Festival.

2019
MIAMI
Iliana Matos

Sonata Clásica Manuel María Ponce


Allegro (1882-1948)
Andante
Menuet
Allegro

Danzas Rituales y Festivas Leo Brouwer


Danza de los Ancestros (b. 1939)
Glosas Camperas
Tango Matrere

Gran Jota Francisco Tárrega


(1852-1909)

Iliana Matos plays a Paco Marin guitar.

2019
MIAMI
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

2019
MIAMI

LECTURE
Friday, June 21

Stephen Goss, Jonathan Leathwood and Stanley Yates


Improvisation as a Way of Knowing: Towards a New Pedagogy of Notated Repertoire
Conventional approaches to understanding, performing, and teaching composed art music are often restricted to a narrow path
that depends entirely on the notated score. This path subjects the music to a dissection, post mortem, whose materials are the given
facts of the work, and whose tools are our ability to discover and label therein a series of rational objects.
While such an approach is not without its benefits, we will propose a more organic tool that can help us move beyond the purely
analytical and put student creativity at the heart of musical understanding: improvisation.
Improvisation as a concept goes far beyond “soloing” over a chord progression. Current research into musical cognition suggests
that improvisation is best defined as a “way of knowing.” On this view, performing memorized music and improvising constitute
different ways of interacting with an instrument and manipulating musical knowledge. By switching flexibly among various ways
of knowing we arrive at a deeper understanding of composed pieces.
In this presentation we will demonstrate a series of practical approaches, from the 18th century to the present day. We will show
how musicians in the baroque and classical periods trained with complete formal units, and how improvisation can inform
present-day preoccupations, from memorizing pieces in autonomous atonal languages to collaborating with composers on new
works.

Biographies
“Stephen Goss draws on a variety of sources for his eminently listenable music. Despite the eclectic nature of his influences,
Goss’s musical language comes across as brilliantly integrated.” –International Record Review
Stephen Goss’s music receives hundreds of performances worldwide each year and has been recorded on over 70 CDs by more
than a dozen record labels, including EMI, Decca, Telarc, Virgin Classics, Naxos, and Deutsche Grammophon. His varied output
includes orchestral and choral works, chamber music, and solo pieces.
Recent work includes several projects with the guitarist John Williams, who has recorded and toured Steve’s Guitar Concerto with
the Royal Philharmonic Orchestra. Steve’s music has been performed by many of the world’s leading orchestras including:
The Russian National Orchestra (under Mikhail Pletnev), The China National Symphony Orchestra, The Royal Liverpool
Philharmonic Orchestra, The State Symphony Orchestra ‘New Russia’, The RTÉ National Symphony Orchestra, The Boulder
Philharmonic Orchestra, The Scottish Chamber Orchestra, and the Barcelona Symphony Orchestra.
Commissions have come from guitarists David Russell, Miloš Karadaglić and Xuefei Yang (including chamber works with
cellist Natalie Clein and tenor Ian Bostridge). Steve has also collaborated with Andrew Lloyd Webber, Alt-J, and Avi Avital. As a
guitarist, he has worked with Takemitsu, Henze, Peter Maxwell Davies and Elliott Carter, and toured and recorded extensively
with the Tetra Guitar Quartet, various other ensembles, and as a soloist.
Stephen Goss is Chair of Composition at the University of Surrey, UK, Director of the International Guitar Research Centre,
and a Professor of Guitar at the Royal Academy of Music in London.
www.stephengoss.net
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

LECTURE
Friday, June 21

Stephen Goss, Jonathan Leathwood and Stanley Yates 2019


MIAMI

Biographies continued...

Jonathon Leathwood teaches guitar, music analysis and the Alexander Technique at the University of Denver’s Lamont School
of Music, where he is Associate Teaching Professor and chair of the guitar program.
As a recitalist, Jonathan has recently appeared at the Leo Brouwer Festival in Brazil, the Wigmore Hall, the Cheltenham Festival,
the D-Marin Festival in Turkey, and many other venues in Europe and both American continents. The Musical Times of London
has written of his "remarkable talent and singular artistry"; Fabio Zanon wrote in Violão Intercambio that "he has to be seen to be
believed," while Classical Guitar has called him "a genius." Equally known as a collaborator with both performers and composers,
Jonathan Leathwood has recorded two albums with the legendary flutist William Bennett, and recorded and broadcast with
cellists Rohan de Saram and Steven Isserlis. His commissions from composers such as Param Vir, Stephen Goss, Robert Keeley
and Chris Malloy have pushed the boundaries of both six- and ten-string guitars. His recordings of Goss, Dodgson, Malloy and
Keeley are available on the Cadenza and NMC labels.

Stanley Yates is a British guitarist now a resident citizen of the United States. A past prize-winner in several international guitar
competitions, he has performed extensively in Europe and North America, along with periodic trips to South America, Asia, and
Australia. He has been the dedicatee of compositions by such notable guitarist-composers as John Duarte, Angelo Gilardino,
Stepan Rak, Atanas Ourkouzounov, Mark Delpriora, and Mark Houghton. His guitar-related scholarly articles dealing with
such topics as Bach interpretation and Villa-Lobos manuscript sources have been published in ten languages. He is Professor of
Music and Director of Guitar Studies at Austin Peay State University.
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

CONCERT
Friday, June 21

A native of Zagreb (Croatia) and born in 1969, Zoran Dukić was presented with a guitar at the early age of six. Today he is one
of the most distinguished classical guitarists of our time. His performances, in recital or with an orchestra, leave long-lasting
impressions on audiences and critics alike. There a unique quality in Mr. Dukić’s playing that allows the listener to experience
the piece as if it was being heard for the first time, always fresh and always exciting. In the critics’ words:

“A thrilling concert... the audience was on its feet already after the first piece... a phenomenal evening” Gevelsberger Zeitung,
Germany
“... after two minutes the audience was breathless,... the string genius from Zagreb showed both technical brilliance and
tenderness,... with the artistic potential and expressive power of life itself,... This is a musician not a guitarist.” Kölnische
Rundschau, Germany
“...Artist of exceptional sensitivity... a treasure box of expression...what a directness of communication through music...a truly
unforgettable evening” Novi List, Croatia

He graduated from the Music Academy of Zagreb under the guidance of Darko Petrinjak and later completed his studies with
Hubert Käppel at the Hochschule für Musik in Cologne.

In his “tour de force” competition years (1990-1997) he won virtually every prize, being the only guitarist to have won both
“Andrés Segovia” competitions, in Granada and in Palma de Mallorca. Showing astounding mastery in a wide variety of musical
periods and styles he also won competitions dedicated to “Fernando Sor,” “Manuel Ponce,” “Manuel de Falla,” “Francisco
Tárrega” among many others. In the greatest Spanish guitar competition in Madrid, patronized by the Royal Family, he was
awarded, in addition to the First Prize, the Special Prize for the best interpretation of Spanish music (first time awarded to a
non-Spaniard). In numerous competitions he was selected by the audience for the Public Prize, a self-evident testimony to his
natural ability to communicate through music with any audience.

2019
MIAMI
from Violin Sonata No.1 in G minor, BWV 1001 Johann Sebastian Bach
Siciliana (1685-1750)

Invierno Porteño Astor Piazzolla


(1921-1992)

from Violin Sonata No. 2 in A minor, BWV 1003 J.S. Bach


Andante

Adios Nonino A. Piazzolla

from Violin Sonata No. 3 in C major, BWV 1005 J.S. Bach


Largo

Muerte de Angel A. Piazzolla

from Violin Partita No. 2 in D minor, BWV 1004 J.S. Bach


Sarabanda

Cinema Paradiso Stephen Goss


Paris, Texas (b. 1964)
Modern Times
Noir
Mandalay
451
Tarantino

Zoran Dukić plays a Greg Byers guitar.

Gusman Hall
The Spotlight Recital is a GFA event where non-competitor festival attendees will be given an opportunity to
perform in open concert on a first-come, first-serve basis. This is a great opportunity for guitarists of all ages
and skill levels to support one another in the sharing of their craft.

GFA Community Orchestra Program

Atascadero (Denouement) from Godless Carlos Rafael Rivera


Shea Kole, cello (b. 1970)
Federico Musgrove Stetson, guitar

Directed by Chuck Hulihan

2019
MIAMI
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

CONCERT
Friday, June 21
8pm | Gusman Hall
Manuel Barrueco
Legendary guitarist Manuel Barrueco is internationally recognized as one of the most important three guitarists of our time. His
unique artistry has been continually described as that of a superb instrumentalist and a superior and elegant musician, possessing a
seductive sound and uncommon lyrical gifts.

His career has been dedicated to bringing the guitar to the main musical centers of the world such as the Musikverein in Vienna,
Concertgebouw in Amsterdam, Royal Albert Hall in London, Philharmonie in Berlin, Teatro Real in Madrid, and Palau de la
Musica in Barcelona. He has completed a dozen tours of Japan and made repeated appearances in Korea, Taiwan, Singapore, China,
and Hong Kong, and in Latin America he has performed in Mexico, Brazil, Colombia, Costa Rica, Panama and Puerto Rico.

Barrueco's commitment to contemporary music and to the expansion of the guitar repertoire has led him to collaborations with
many distinguished composers such as Steven Stucky, Michael Daugherty, Roberto Sierra, Arvo Pärt, Jonathan Leshnoff, Gabriela
Lena Frank, Dmitri Yanov-Yanovsky, and Toru Takemitsu.

Manuel Barrueco has appeared on a wide array of television programs including "CBS Sunday Morning," A&E's "Breakfast with
the Arts," and "Mister Rogers' Neighborhood" on PBS. He was featured in a Lexus car commercial, and his work in music inspired
Michael Lawrence’s biographical documentary: “Manuel Barrueco: A Gift and a Life.” Barrueco’s recording catalogue includes over
a dozen recordings for the EMI label. His recording of Rodrigo's Concierto de Aranjuez with conductor and tenor Plácido Domingo
and the Philharmonia Orchestra was cited as the best recording of that piece in Classic CD Magazine.

In 2007 Manuel Barrueco received a Grammy nomination for the “Best Instrumental Soloist Performance” for his Solo Piazzolla,
the first recording to be released on his exclusive Manuel Barrueco Collection on Tonar Music. Tango Sensations and Sounds of
the Americas followed in collaboration with the Cuarteto Latinoamericano, the latter received a Latin Grammy Award for “Inca
Dances” by Gabriela Lena Frank for “Best Classical Contemporary Composition.” Subsecuently he released, Tárrega! which received
a Latin Grammy nomination for “Best Classical Album.” Medea was recorded with the Tenerife Symphony and Víctor Pablo Pérez
conducting and includes Barrueco’s arrangement of the ballet by flamenco guitarist and composer Manolo Sanlúcar. It received a
Latin Grammy nomination for “Best Classical Album.” China West, a recording of guitar trios with his protégés, the Beijing Guitar
Duo came out in 2014 and his latest release is Fernando Sor: The Beethoven of the Guitar released in Dec. 2016.

Manuel Barrueco began playing the guitar at the age of eight in his native Cuba and he immigrated with his family to the United
States in 1967 as political refugees. He completed his advanced studies at the Peabody Conservatory, where he now shares his love
for music with a small number of exceptionally gifted young guitarists from all over the world.

In 2011, Manuel Barrueco received the United States Artist Fontanals Fellowship for Artistic Excellence.

Artist’s official website: Barrueco.com, Website for Recordings: TonarMusic.com, Facebook: Manuel Barrueco and TonarMusic
Twitter: @ManuelBarrueco and @TonarMusic, Instagram: @ManuelBarrueco

70
Manuel Barrueco
Music of Spain & Cuba

Three Pieces from the Renaissance Luis de Narváez


Cancion del Emperador (1490-1547)
Baxa del Contrapunto
Guardame las Vacas

Yoruban Chants from Cuba Héctor Angulo


I. Asokere (1932-2018)
II. Suayo
III. Iyá mi ilé
IV. Borotití
V. Asokere II
VI. Iyá mo dupé
VII. Yeye bi obi tosuo
VIII. E Iekua
IX. Asokere III

Cuban Dances Ignacio Cervantes


El Velorio (The Wake) (1847-1905)
La Celosa (The Jealous One)
Mensaje (A Message)
Adios a Cuba (Farewell to Cuba)
Los Tres Golpes (The Three Knocks)

Prelude and Dance Julián Orbón


(1925-1991)
Intermission

La Maja de Goya, Tonadilla Enrique Granados


(1867-1916)
A la Cubana, Op. 36
Allegretto
Un Poco Vivo

from Suite Española op. 47 Isaac Albéniz


Castilla (1860-1909)
Cuba
Aragón

Three Transcriptions by Francisco Tárrega (1952-1909)


Jota de los Ratas, from the zarzuela “La Gran Vía” F. Chueca /J. Valverde
(1846-1908)/(1846-1910)
La Paloma, Habanera S. Yradier
(1809-1865)
Tango de la Cadera, from the zarzuela “El Ratón” R. Calleja Gómez
(1870-1938)

Manuel Barrueco is represented by Tonar Music Management—Asgerdur Sigurdardottir.


Tonight's concert was generously sponsored by the Augustine Foundation.

The
Augustine
Foundation
71
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

LECTURE
Saturday, June 22

Jonathan Godfrey
2019
MIAMI

Metric Dissonance in the Guitar Music of Joaquín Rodrigo


The rhythmic vibrancy that characterizes the music of Joaquín Rodrigo has been oft-discussed by commentators from the
perspective of his well-known penchant for recasting Renaissance, Baroque, and Spanish-rooted dance forms in a 20th century
context. While this factor is no doubt fundamental to understanding Rodrigo’s rhythmic tendencies, there is much to be gained
from an objective analysis of these tendencies apart from their historical inspiration. This is particularly true when examining
Rodrigo’s recurrent use of what theorist Harald Krebs dubs “metric dissonance,” a phenomenon resulting from the misalignment
of at least two layers of perceived pulse. A prime example of what Krebs would call a “subliminal” metric dissonance is found in
the third movement of Concierto de Aranjuez, where a barring of 3/4 | 2/4 | 2/4 | 2/4 is imposed on a main-theme that can easily be
heard and is often interpreted as three bars of 3/4. Even if one explains this barring choice as a reference to a particular dance-form
– Rodrigo identifies it only as “a courtly dance” – many questions remain regarding how Rodrigo is able to create such metrically
equivocal thematic material, what the overarching rhythmic effect of this material is, how this theme and metrical pattern
play out over the course of the movement, the relevance of metric dissonance to his overall style, and the implications it has for
performance interpretation. Such questions are at the heart of what this lecture seeks to address through a concise study of metric
dissonance in Rodrigo’s guitar works, especially in the outer movements of Concierto de Aranjuez and in select solo pieces such
as En los trigales and the “Passacaglia” from Tres piezas espanolas. What will be shown is that the aesthetic that informs Rodrigo’s
rhythmic language is perhaps not dissimilar to his harmonic language: Even with his clear affinity for convention, Rodrigo
exhibits a proclivity for bending the rules just enough to create a unique voice that is at once entirely traditional yet somehow
delightfully off-kilter.

Biography
Dr. Jonathan Godfrey holds his DM from Indiana University, his MM from the Cleveland Institute of Music, and his BM from
LaGrange College. A resident of the Tampa Bay area since 2012, he is a recurring session guitarist with The Florida Orchestra
and has also appeared with the Master Chorale of Tampa Bay, the Choral Artists of Sarasota, Sarasota’s Asolo Repertory Theater,
the Florida Studio Theater, and in national-touring shows at Tampa’s Straz Center for the Performing Arts. A top prize-winner in
several performance competitions, he has been a featured soloist on recordings released by the Indiana University Jacobs School of
Music and the Embassy of Spain. He regularly performs with coloratura-soprano Jenny Kim-Godfrey as part of Corda Voce, a duo
lauded for its “charming and virtuosic” fusion of cabaret and classical repertoire (www.CordaVoce.com). An active composer of
guitar music, he was awarded First Prize in the 2011 Boston GuitarFest Composition Competition for his Sonatina for Solo Guitar,
written for and premiered by Nemanja Ostoich, and most recently garnered an Honorable Mention in the 2019 Austin Classical
Guitar Ensemble Composition Competition for his work Tunguska. He currently serves on the faculty of the State College of
Florida, Manatee-Sarasota, where he teaches guitar, music appreciation, and music theory. (www.TampaBayGuitar.com)

72
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

LECTURE
Saturday, June 22

Michael Kudirka
2019
MIAMI

Historical Tunings and Temperaments on Modern Microtonal Guitars


Prior to the adoption of fixed frets, guitars (and lutes and viols) used tied-on gut frets which were moveable, allowing
the performer to adjust their placement for particular tunings and temperaments. While there was never a universally
standardized fretting scheme, many options from Pythagorean to various flavors of Meantone were employed. The primary
goal in the 16th and 17th centuries was to improve the quality of the Major Third, ideally achieving thirds in Just Intonation.
Several luthiers from the 19th century onward have engineered alternative fretting technologies that can achieve these
historical tunings and temperaments, and with materials and manufacturing improvements in the 21st century, guitarists
now have the opportunity to truly move out of the rigid confines of 12-tone Equal Temperament. This lecture will explore
several historical tuning systems and how they may be applied in the music of Francesco Canova da Milano, John Dowland,
and Johann Sebastian Bach.

Biography
Hailed by the Los Angeles Times as “the excellent guitarist in Henze’s unsettled score” and by Classical Guitar Magazine as
“a leading proponent of new directions in classical guitar music,” Michael Kudirka is among the most committed, daring,
and diversely talented of the current generation of virtuoso guitarists. An avid and long-time advocate of cutting-edge new
music, Kudirka has maintained a close collaboration with Los Angeles-based composer Jeffrey Holmes since 2002, and a
retrospective album of Holmes’s microtonal guitar works titled May the Bridges I Burn Light My Way has been released by
MicroFest Records (USA) in 2019. In the same year Kudirka also released the world-premiere recording of Bryan Johanson’s
epic album-length composition 13 Ways of Looking at 12 Strings with Eric Benzant-Feldra on Les Productions d’OZ
(Canada).

In November, 2017 Michael Kudirka completed his third production run of Thomas Adès's The Exterminating Angel at The
Metropolitan Opera of New York, following performances at the Salzburger Festspiele (Austria) and the Royal Opera House
(UK). Kudirka worked personally with Adès on the composer’s first-ever music written for guitar, and a DVD of The Met's
Fall 2017 production will be released by Deutsche Grammophon. Kudirka has also collaborated with 2017 MacArthur
Foundation ‘Genius’ Award Winner Yuval Sharon in his production of Veronika Krausas’s chamber opera The Mortal
Thoughts of Lady Macbeth.

Michael Kudirka travels around the globe as a recitalist and chamber musician, and has performed at the Shanghai
Conservatory of Music, Darmstadt Ferienkurse Für Neue Musik, EUROMicroFest, Le Chappelle Historique du Bon
Pasteur, Covent Garden, the Royal Conservatory of Music, Conservatorio de Las Rosas, Palace of Fine Arts, Walt Disney
Concert Hall, Zipper Recital Hall, REDCAT, the Frye Art Museum, and many others.

He is currently a faculty member at Arkansas State University and is sponsored by D’Addario and Augustine strings.
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

LECTURE
Saturday, June 22

Frederick Sheppard
2019
MIAMI

The discovery and publication of the original Agustin Barrios Method for Guitar, and other original materials
Passed over by 2 generations of researchers, the original and complete teaching method of Agustin Barrios has been found and is
in publication. With comments from the leading guitarists of our time, the Barrios method and the additional manuscripts to be
published give rare and never before seen insights into the structured and progressive teaching method of Barrios.

Additional lecture time will be devoted to the publication and analysis by musicologist Richard Pinnell of the personal
autograph book of Barrios which contains the largest treasure trove of personal tributes and performance reviews of the
Paraguayan master ever discovered.

Biography
Frederick Sheppard is a guitar maker and author of the 6 volume series Agustin Barrios, El Libro do Oro which contains the
original teaching method of Barrios, studies, duos written for him to play with his students, as well as his original works and
arrangements of other composer's works taken from his concert career. He maintains a Spanish cultural charity in Carrion de
los Condes Spain devoted to the construction of, and performance of the Spanish guitar housed in a 1000 year old church.
Caminoartes.org.
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

GUITAR FOUNDATION OF AMERICA

IYC FINALS
Junior Division

Senior Division

The final rounds in both divisions of the XII Guitar Foundation of America
International Youth Competition will take place on Saturday, June 25, in the
Recital Hall. The Junior Division final round will be held at 9:30 am and the
Senior Division final round will be held at 1:30 pm.

Four finalists from each division will perform their programs for the judges and audience. The contestants and the judges
appreciate the audience’s consideration of competition protocol; entering and leaving the hall only during applause and brea
and turning off all handheld devices.

The results for both divisions will be announced at 4:00 p.m., before the Montenegrin Duo concert in the Concert Hall.

GUITAR FOUNDATION OF AMERICA

ICAC Finals
Saturday, June 25

The final round of the XXXIV GFA International Concert Artist


Competition will take place Saturday, June 25 at 6:30 p.m. in the Concert
Hall. Four finalists will perform their twenty-five-minute programs, along
with the set piece, Labyrinth, by Stephen Goss. The contestants and judges
appreciate the audience’s consideration of competition protocol: hold
applause until each competitor has finished his/her entire set; enter and leave
the hall only during applause and breaks; and turn off all handheld devices.

2019 Following the competition finals, there will be a ten-minute intermission, and then the awards ceremony will commence.
75 MIAMI The ceremony will begin with the induction of new members to the GFA Hall of Fame, and will conclude with the results of
the International Concert Artist Competition.
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

Hall of Fame Awards


Saturday, June 22 | 9pm | Gusman Hall

2019 Award Recipient

Manuel Barrueco

ward

Each year the Board of Trustees considers new candidates for the Guitar Foundation of America Hall of Fame.
Nominees are voted into the following categories:
• The Artistic Achievement Award—reserved for performers, composers, pedagogues, and scholars who have
made monumental contributions to the development of the art and life of the classical guitar.
• The Distinguished Service Award—honoring past GFA board members, officers, staff, and others who have
served the GFA in outstanding, critical, and long-standing fashion.
• The Industry Leadership Award—honoring entrepreneurs, artisans, and businesses who have made significant
or visionary contributions to the advancement of the classical guitar and its community.

For 2019, the Board has voted to honor Manuel Barrueco with the Artistic Achievement Award. His work and
contributions to the guitar world are well-known to most GFA members. We are honored that he is able to be present
with us to accept this award. We look forward to celebrating his career at the 2019 Awards Ceremony.

Artistic Achievement Award: Industry Leadership Award:


Leo Brouwer (2018) Robert Ruck (2016)
David Russell (2018) Kenny Hill (2015)
Alirio Díaz (2017) Dean Kamei (2014)
Roland Dyens (2017) Maurice J. Summerfield (2013)
Ricardo Iznaola (2016) Daniel Friederich (2012)
Assad Brothers (Sérgio and Odair) (2015) Manuel Velázquez (2011)
Carlos Barbosa-Lima (2015) Matanya Ophee (2011)
Konrad Ragossnig (2014) John Gilbert (2010)
Jorge Morel (2014) Bernard Maillot (2010)
Michael Lorimer (2014) Jim D’Addario (2009)
John Williams (2013) John D’Addario, Jr. (2009)
Rico Stover (2013) Thomas Humphrey (2009)
Bruce Holzman (2013) Paul Gerrits (2008)
Christopher Parkening (2012) Mel Bay Publications, Inc. (1996)
Andrés Segovia (post.) (2012)
Brian Jeffrey (2012) Distinguished Service Award:
David Starobin (2011) Ábel Nagytóthy-Tóth (2014)
Eli Kassner (2011) Clare Callahan (2013)
Pepe Romero (2010) Carol Sanders (2012)
Oscar Ghiglia (2009) Richard Long (2010)
Angelo Gilardino (2009) Jeff Cogan (2009)
Julian Bream (2008) Ronald Purcell (2008)
John Duarte (1999) Peter Danner (2007)
Richard Pick (1999) Gunnar Eisel (2007)
Chet Atkins (1996) Jim Forrest (2007)
Aaron Shearer (1996) David Grimes (2007)
Thomas Heck (2007)

MIAMI
GUITAR FOUNDATION OF AMERICA
Personnel
President: Martha Masters first achieved international recognition in 2000 when she won first prize in
the Guitar Foundation of America International Concert Artist Competition. That same year she also
won the Andres Segovia International Competition in Linares, Spain, and was named a finalist in the
Alexandre Tansman International Competition of Musical Personalities in Lodz, Poland.

Since then, Ms. Masters has been active as a solo recitalist, chamber musician and concerto soloist
around the world. Recent seasons included appearances at festivals and on concert series through the
United States, Germany, Poland, Russia, and China.

Masters received both the Bachelor and Master of Music degrees from the Peabody Conservatory,
where she studied with Manuel Barrueco, and completed the Doctor of Musical Arts degree at the
University of Southern California as a student of Scott Tennant.

Ms. Masters is currently on the guitar faculty of Loyola Marymount University and California State
University Fullerton, and is president of the Guitar Foundation of America. She has five recordings
on the Naxos and GSP labels, and has published three books with Mel Bay Publications and Alfred
Music. For more information, visit www.marthamasters.com.

Artistic Director: Brian Head enjoys a vibrant, frenetic career as a guitarist, composer and teacher, frequently
performing and recording with chamber and symphonic groups including the LA Phil, the San Francisco
Symphony, the Los Angeles, Santa Barbara and Long Beach Operas, and new music series such as Green
Umbrella, Jacaranda, MicroFest, and Hear Now. His compositions have been performed on six continents
and throughout the U.S. in venues including Carnegie Hall in New York, the Ambassador Auditorium in Los
Angeles and the Phillips Collection in Washington, DC. His homage to John McLaughlin called We Know
You Know, was part of the Grammy Award-winning Guitar Heroes album by the Los Angeles Guitar Quartet.
Brian is currently Professor of Classical Guitar and Composition at the USC Thornton School of Music
where he also serves as Associate Dean for Academic Affairs. From 2004 until 2010 Brian led the Guitar
Foundation of America as its president. In June of 2010, he was elected as the first Artistic Director of the
GFA. Brian can be reached at: brianhead@guitarfoundation.org.

Vice President: Jeff Cogan studied guitar at California State University, Northridge with Ronald C.
Purcell. He has performed in concerts in many American cities and in European cities such as Rust,
Austria, Perigueux, France, Lanuvio, Italy, Aranda De Duero, Spain, and Belgrade, Serbia. Jeff’s teach-
ing career began in 1982 at Chapman University where he remains director of guitar studies and music
technology. He is a board member and program chairman of the Orange County Guitar Circle.

Vice President-Treasurer: Pam Gerken has over twenty-five years accounting experience as owner of
Expert Bookkeeping Services in Orange, California. Her business specializes in Restaurant accounting and
currently handles over sixty-five clients with the help of her staff. Pam has been a long time supporter and
fan of classical guitar. In addition to her new position with the GFA Board, she has served as Treasurer for
Rocco’s Heart, an HLHS Foundation, since 2007.

Vice President-Secretary: Robert Lane holds a Bachelor of Science degree with an


emphasis in Finance from the Marshall School of Business and a Juris Doctor from the
Gould School of Law at the University of Southern California. Having practiced law
for over twenty-three years, Bob has represented and advised corporations in litigation,
transactional, and compliance matters as both outside and in-house counsel. A student
of the guitar and its history for many years, Bob has become an avid advocate and
collector. He has been a member of the GFA Board since 2000.

2019
MIAMI 77
GUITAR FOUNDATION OF AMERICA
Personnel Board of Trustees

Stephen Aron is a well-established figure on the American classical guitar scene. He performs regularly across
North America and Europe and has released eight CDs to critical acclaim. Notably, the music Aron has recorded
is almost entirely of his own creation, either by arrangement or composition, and includes volumes of music of
Chopin, Mendelssohn and Schumann, and the complete guitar works of Burle Marx. His works are published
by Tuscany, Mel Bay and Clear Note. Aron holds teaching posts at the University of Akron and Oberlin
Conservatory of Music. Aron was a GFA Board member 1989–92, and served as chairman 1990–92.

Joanne Castellani and her husband, Michael Andriaccio, have enjoyed a celebrated career as one of the foremost
guitar duos in the world. Having received numerous awards and distinctions including two National Endowment
for the Arts Solo Recitalist Fellowships and a scholarship to the masterclasses of Andres Segovia in Spain, they have
toured internationally as recitalists and concerto soloists. The duo has recorded ten acclaimed CDs, two named
Best of the Year by Fanfare Magazine and American Record Guide, as well as two DVDs. Joanne is cofounder,
president, and CEO of Fleur de Son Classics, a record label with over one hundred acclaimed titles. Joanne has
served as Board member and Executive Director of the Guitar Foundation of America International Competitions
and is currently Artistic Co-Director of the JoAnn Falletta International Guitar Concerto Competition.

Mark Delpriora is co-chairman of the guitar department at Manhattan School of Music and is on the faculty
of the Juilliard School in the Undergraduate Studies department. Delpriora’s compositions are published by
Editions Orphee, Berben Edizioni Musicali, and Guitar Arts Publishing. Sections of his Variations on a Theme
by Sor were used as the set piece for the 2011 Guitar Foundation of America Competition. He has been on the
juries of several international competitions including the Naumberg, Guitar Foundation of America, Lagonegro
(Italy), Barrios and the D’Addario Concerto competitions. He has recorded for Koch International Classics,
Soundspells, Philips, Tzadik, and CRI and has six CDs with flutist Laurel Zucker on Cantilena Records.

Alexander Dunn holds a Bachelor and Masters Degree in Performance from the San Francisco Conservatory of Music and
a Ph.D. in Musicology from the University of California, San Diego, where he was a protégé of Pepe Romero. His ground-
breaking dissertation, “Robert de Visée’s Theorbo Works: An I introductory Study” is highly regarded, as is his research
into nineteenth century performance practice. Dr. Dunn’s extensive summer studies included nine years at the Aspen Music
Festival under Oscar Ghiglia and four summers at the Salzburg Mozarteum. He is a popular adjudicator and competition
judge. Dr. Dunn is on the Board of Examiners for the Royal Conservatory of Music 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.

Eric Dussault holds a Bachelor Degree in Performance from Laval University, and a Master Degree from the Quebec
Conservatory, both institutions being located in Quebec city, Canada. After publishing many books with Les Productions
d’OZ at the dawn of the new millennium, he started to work part-time as a music engraver, before turning full-time for the
company in 2004. The scope of his work at Les Productions d’OZ ranges from music typesetting, graphic design, webmaster,
production, and also representing the company in various conventions and festivals. Now a share holder in the company, he is
getting more closely involved in the different aspects of the management of Les Productions d’OZ and Doberman editions.

Chris Garwood began his classical guitar studies at the age of five under the tutelage of Alan Johnston at the MacPhail
Center for Music in Minnesota. He has gone on to receive a Bachelor of Music from the University of Southern California
where he studied with William Kanengiser as a Trustee Scholarship recipient and a Master of Music from the Yale School
of Music where he studied with Benjamin Verdery. Chris is a co-founder of the online music education startup "tonebase"
which hosts a curated catalog of instructional videos from the world's best classical guitarists.

Stephen Goss’s music receives hundreds of performances worldwide each year and has been recorded on over 60 CDs by
more than a dozen record labels, including EMI, Decca, Telarc, Virgin Classics, Naxos, and Deutsche Grammophon. Recent
work includes several projects with the guitarist John Williams, who has recorded and toured Steve’s Guitar Concerto (2012)
with the Royal Philharmonic Orchestra. As composer-in-residence for the Orpheus Sinfonia, Steve wrote the Piano Concerto
(2013) and the Concerto for Five (2013). Steve has also had his music performed by The Russian National Orchestra, The China
National Symphony Orchestra, The Royal Liverpool Philharmonic Orchestra, The RTÉ National Symphony Orchestra, and the
Barcelona Symphony Orchestra. Steve’s Albéniz Concerto (2009) for guitar and orchestra was released to great critical acclaim
on EMI Classics in 2010. Steve is Chair of Composition at the University of Surrey, UK, and a Professor of Guitar at the Royal
Academy of Music in London. He was born on 2nd February 1964.
78
GUITAR FOUNDATION OF AMERICA
Personnel Board of Trustees
Julian Gray’s career over three decades includes critically acclaimed recordings on the Dorian-Sono Luminus
label and concert appearances and masterclasses throughout the United States, Canada, and Europe. His work
in helping to establish the guitar duo repertoire includes his many arrangements for duo with partners Ronald
Pearl and Serap Bastepe-Gray and the commissioning and premieres of works by composers such as Roberto
Sierra, David Leisner, Gilbert Biberian, Loris Chobanian, William Bland, Oliver Hunt, and Benjamin Verdery.
His students are frequent top prize winners at major national and international solo guitar, guitar concerto,
and chamber ensemble competitions, and his many former students are members of university, college, and
conservatory faculties in the United States, Europe, and Asia. Julian Gray is on the faculties of the Peabody
Conservatory of the Johns Hopkins University, where he is Chair of the Guitar Department, and the Shenandoah
Conservatory of the Shenandoah University, where he is Professor of Music and Director of Guitar Studies.

Nathaniel Gunod is a VP and Senior Acquisitions Editor at Alfred Music. He was the founder and Artistic
Director of the National Guitar Workshop’s Classical Guitar Summit and an instructor of guitar at the Peabody
Conservatory of Music. He toured nationally with the Gunod-Rosser Guitar and Harpsichord Duo and has
been a judge for several competitions, including the GFA, The Beatty Music Scholarship Competition, and
the Peggy and Yale Gordon Competition at Peabody Conservatory. Gunod created and edits Alfred’s Classical
Guitar Masterworks series, which includes editions from Nicholas Goluses (Bach), Marc Teicholz (Sor), Julian
Gray (Mertz), Scott Tennant (Tarrega), and Jeffrey McFadden (Coste). The editor of Scott Tennant’s Pumping
Nylon, Andrew York’s Jazz for Classical Cats, and Martha Masters’s Total Classical Guitarist, he is the author of
Classical Guitar for Beginners, Teach Yourself Classical Guitar, and Beginning Theory for Adults and has published
numerous arrangements for guitar. He was the Chief Content Officer at WorkshopLive.com, where he oversaw
the creation of over 2,500 online music lessons.

Bryan Johanson is an active concert guitarist, composer, and author who has taught at Portland State University
since 1978. A Professor of Music and past Director of the School of Music, Johanson retired in January of 2016 to
pursue composing, performing, and writing. His articles and reviews on the guitar have appeared in Soundboard,
Guitar Review, Acoustic Guitar, and American Lutherie. Johanson’s compositions have been published by Guitar
Solo Publications, Mel Bay Publications, Doberman-Yppan, Les Productions d’OZ, and more, and his music has
been performed and recorded by the Chamber Music Society of Lincoln Center, David Starobin, the Los Angeles
Guitar Quartet, David Tanenbaum, and many others. He has won numerous composition prizes nationally and
internationally. Johanson’s music is recorded extensively and appears on record labels such as Albany, Bridge, EMI,
GSP, Gagliano Recording, Naxos, and Cube Squared Records. His compositions have been recorded on Grammy-
nominated, and Grammy-winning albums. Johanson is currently a member of the Oregon Guitar Quartet, which
has released seven highly successful recordings.

William Kanengiser is a noted soloist, chamber musician, and professor of the classical guitar. A longtime board
member of GFA, he is perhaps best known for his stand-up comedy routine at the 2005 Convention, where he
infamously imitated twenty-two guitarists. First prize winner in the 1987 Concert Artists Guild and 1981 Toronto
Competitions, he has recorded four solo CDs for the GSP label. As a founding member of the Los Angeles Guitar
Quartet, Mr. Kanengiser has toured worldwide and recorded over a dozen CDs, many featuring his arrangements
and compositions. LAGQ was awarded a Grammy for Best Classical Crossover Recording in 2004 for their LAGQ’s
Guitar Heroes CD. A dedicated masterclass instructor, he is an Associate Professor of Practice at the USC Thornton
School of Music and has taught there since 1983. He was a recipient of the 2011 Dean’s Award for Excellence in
Teaching and the 2013 Dean’s Award for Excellence in Professional Endeavors.

Frank Koonce has directed the guitar program at Arizona State University since 1978 and is internationally
acclaimed as a performer, teacher, and writer. He produced an authoritative edition of Bach’s solo lute works and
other publications through Mel Bay, Kjos, and Productions d’Oz. Additionally, he recorded Castelnuovo-Tedesco’s
Platero y yo and is featured in a live concert video with Nikita Koshkin. A founding partner of Soundset Recordings,
he is now president of the label. Mr. Koonce has served on the GFA Advisory Board, including two terms as chair,
and was the Pedagogy Forum editor for Soundboard for many years.

Dr Kenneth Kwan is Professor at Xinghai Conservatory of Music (Guangzhou, China) where he established the
classical guitar program in 2006. A graduate of SUNY Buffalo, he was a student of the Castellani-Andriaccio Guitar
Duo. He has extensive experience in the guitar in China, being member of the Organizing Committee of the
Changsha International Guitar Festival (Artistic Director: Xuefei Yang) and the Hong Kong Altamira International
Guitar Symposium. He has served on judging panels in competitions all over China and abroad. Kwan is also
an internationally known specialist on the music of Chinese American composer Chou Wen-chung, whose
collection of books was donated to the Chou Wen-chung Music Research Center which was launched at Xinghai
Conservatory in November 2018 and whose Academic Advisory Committee Kwan is an Executive Member of.
79
GUITAR FOUNDATION OF AMERICA
Personnel Board of Trustees
Randy Leff is a business lawyer with over thirty years of experience trying and resolving “bet the company”
disputes in both state and federal court. He brings to the table substantial knowledge and experience for his
business clients, who appreciate his consistently customized, high-quality legal services with his signature
enthusiasm, creativity, and passion. By working collaboratively with his clients, he is able to solve problems
creatively and minimize the impact of litigation. Many of Randy’s clients ask him to become a member of their
management teams in the role of outside general counsel. In this capacity, he can further influence the business by
bringing his business acumen, entrepreneurial zeal, and problem solving skills to the management team. Randy
has been playing guitar for more than thirty years. During that period he has had the honor of studying with Peter
Yates, John Dearman, and Martha Masters.

Richard Long was the editor of Soundboard from 2001 to 2012. He holds a PhD in European History from
Florida State University and has written many articles on the period of the French Revolution and Napoleon and
on the history of the guitar during that era. He has also published dozens of transcriptions, arrangements, and
critical editions of music for the guitar, solo and in various ensembles. He is the owner of Tuscany Publications,
specializing in music for the classical guitar. He has performed in various chamber ensembles, including Camerata
(a quartet consisting of violin, viola, cello, and guitar) and in a series of concerts of rare music for machete and
guitar in California and Portugal with the late John King.

Christopher Mallett is the co-founder and co-owner of the California Conservatory of Music located in the San
Francisco Bay Area where he also teaches students of all ages. As a soloist and a chamber musician, Christopher has
performed extensively across America and Asia. Christopher's newest album with Duo Noire on New Focus Recordings,
Night Triptych, features world premiere recordings of newly commissioned works by women composers. It was chosen
as 2018’s editor's pick on the new music blog I Care if You Listen. Christopher’s involvement in community outreach
has led to four residencies with the St. Louis Guitar Society where he has performed in dozens of public schools for
thousands of students. Christopher is also the co-artistic director of the Peninsula Guitar Series and is on the faculty
of the University of California, Santa Cruz. He received a Master of Music degree from the Yale School of Music and a
Bachelor of Music degree from the Oberlin Conservatory of Music.

Stephen Mattingly has been warmly received by audiences as a soloist and founding member of the Tantalus
Quartet. As recipient of the Theodore Presser Award, he recorded the complete guitar chamber works by Franz
Schubert. Stephen enjoys a vibrant career as Associate Professor of Guitar at the University of Louisville. He is a
member of the Kentucky Arts Council Performing Arts Directory and has been featured at Weill Recital Hall at
Carnegie Hall, the Silesian Guitar Autumn in Poland, Panamá Guitar Festival, GFA Convention, Iserlohn Guitar
Symposium in Germany, and the Columbus State Guitar Symposium.

John Olson is President of the New York City Classical Guitar Society. In this role since 2007, he has revitalized
the organization and made it a thriving and central part of the New York guitar community, presenting one of the
city’s most successful guitar concert series and producing a highly regarded monthly series of educational forums. As
a musician, his teachers include David Leisner and early music specialist Rick Erickson. He performs regularly in a
number of ensembles. Also a scientist, John received his PhD from MIT and has worked in biomedical research for over
twenty years. He joined the Board of Trustees in 2014.

Kim Perlak is the chair of the guitar department at Berklee College of Music, in Boston, MA. Kim’s versatile
approach to the instrument embraces new music, education, and public service. Her performances of new classical
works, original and improvised pieces, and collaborations with jazz and traditional players have been featured
on National Public Radio, at the Yale Guitar Extravaganza, at Boston GuitarFest, and on five recordings. Kim’s
curriculum development for Berklee includes the book Classical Technique for the Modern Guitarist (Berklee
Press/ Hal Leonard 2016). Her guitar work in education and with American veterans has been honored by the
PBS program “From the Top” as part of their Arts Leadership series, and was recognized by the U.S. House of
Representatives. Kim holds degrees from the University of Texas at Austin (’08 DMA), Yale School of Music (’01
MM), and Stetson University (’98 BM). She currently serves on the board of the Boston Classical Guitar Society,
and served as the Editor-in-Chief of Soundboard for GFA from 2010-2013.

Helene Rottenberg is a Professor of Music at Madonna University in Livonia, Michigan, and also taught at the
Herb David Guitar Studio in Ann Arbor for thirty-nine years. She has a Master of Music from the University of
Michigan and was a student of the late Argentine guitarist Manuel Lopez-Ramos. Helene has performed extensively
in the Midwest, particularly in the Detroit/Ann Arbor area, since 1975. She regularly performs in a flute-guitar duo,
Divertimente, with flutist Susan Lazar and has recently joined with Chicago guitarist Pamela Kimmel to form the
Cecilia Guitar Duo. She has been studying Iyengar Yoga since 1976 and has been teaching yoga since 1986. She
currently teaches three hatha yoga classes a semester to college students at Madonna University and maintains a
private yoga studio in her home. She credits the yoga practice with allowing her to play the classical guitar pain-free
80 for the past thirty-five years!
GUITAR FOUNDATION OF AMERICA
Personnel Board of Trustees
Kami Rowan is Full Professor of Music at Guilford College. She received her DMA and MM from Shenandoah
Conservatory. She received her BM under tutelage of Aaron Shearer at NC School of the Arts. Kami is a respected
clinician & performer & current president of the Piedmont Classic Guitar Society. Dr. Rowan sits on the board
of the Aaron Shearer Foundation, which hosts an annual summer institute in Zion National Park. Kami is also
Director of the Guitar Program at Eastern Music Festival. Dr. Rowan worked collaboratively to create an arts
magnet high school & curriculum. She received her teaching license from the University of NC at Greensboro.
Kami will direct the US Guitar Orchestra in Carnegie Hall followed by a tour of France in summer, 2019.

Jim Stroud completed his bachelor's degree in guitar performance in 1982 and completed his Master's degree in
1984. Jim entered the business world in 1984 and continues to run his business today full time with UBS in Hudson,
Ohio as president of Stroud Wealth Partners. Jim continues to sponsor the James Stroud classical guitar competition
at Oberlin conservatory for the past 15 years and offers one of the largest prize awards of any competition held in the
US for guitarists enrolled at the university level exclusively. Past prize winners have received full scholarships at some
of the finest guitar programs in the US including Peabody, Curtis, Eastman, Florida State, Oberlin, and CIM.

David Tanenbaum has performed in over forty countries and has had works written for him by many prominent
composers, including Hans Werner Henze, Aaron Jay Kernis, Terry Riley, Lou Harrison, and Roberto Sierra.
His more than thirty five recordings can be heard on EMI, New Albion, Naxos, and other labels. He has toured
extensively with Steve Reich and Musicians and has worked with conductors such as Esa-Pekka Salonen and Kent
Nagano. He is a member of the Pacific Guitar Ensemble and the San Francisco Contemporary Music Players, and he
is Chair of the Guitar Department at the San Francisco Conservatory of Music.

Marc Teicholz won first prize in the 1989 International Guitar Foundation of America competition. He has toured
extensively throughout the United States, Canada, Europe, and Russia, receiving critical acclaim for his recitals and
masterclasses. Teicholz also has toured Southeast Asia under the auspices of the USIA Artistic Ambassador program.
He has recorded for Naxos and Sugo records, and his solo CD of waltzes,Valseana, recorded on vintage instruments
with GSI, was named by Acoustic Magazine as one of the ten best CDs of 2011. Teicholz has published an edition of
Fernando Sor with the Alfred Music Company and of Ernesto Nazareth with Les Productions D’Oz. He graduated
magna cum laude from Yale University and received an Master of Music from the Yale School of Music and a JD from
the Boalt School of Law at the University of California Berkeley. He is on the faculties of California State University,
East Bay and the San Francisco Conservatory of Music.

Sonia Wilczewski, Esq. is an immigration attorney focusing on employment-based cases with particular enthusiasm
in representing artists and musicians for the past 20 years. As part of the integrative law movement, she is a
contributing author of "Lawyers as Changemakers" published by the American Bar Association. In addition to
law, she has an extensive background in dance and therapy, and has taught numerous workshops in alignment,
breathwork, rehabilitative movement and served as an Adjunct Professor of Dance Injury Prevention at New World
School of the Arts for five years. Her grandfather was a guitarist who instilled in her a love of the instrument at a
young age. While living in Florida, she was a member of the Florida Guitar Foundation. She currently lives in Los
Angeles and when not practicing law, is a part-time student seeking a music degree.

MIAMI 81
GUITAR FOUNDATION OF AMERICA
Personnel
General Manager: Dr. Connie Sheu is a performer, teacher, and advocate of classical guitar. Past performances have brought
her to Lincoln Center’s Alice Tully Hall, 92nd StY, Merkin Hall, Carnegie Hall’s Weill Recital Hall, and venues in Moldova,
Italy, and Hungary. She performs frequently as a soloist for guitar societies and music festivals across the United States.
Connie studied US History and Music at Columbia University, and earned a Master of Music from the Juilliard School. She
completed her Doctorate of Musical Arts at the University of Southern California. She teaches at the Colburn School and
Vanguard University. Connie joined GFA staff in 2009 and previously served as Tour and Communications Director.
Connie can be reached at: csheu@guitarfoundation.org.

Operations Administrator: Ebaa Khamas is a performer, and teacher. He has performed as a soloist and in various
chamber settings. Currently, he’s focused on teaching, performing, and working as an Operations administrator for
the GFA. He holds a Bachelor, and Master of Music degrees from Cal State University Fullerton School of Music,
where he studied with Dr. Martha Masters and Andrew York. Ebaa can be reached at: ekhamas@guitarfoundation.

Convention Manager: Brian Geary is a performer and educator in Southern California. He has received a bachelor in
music, graduating summa cum laude, from SUNY Buffalo State and a Masters of Music in performance from California
State University Fullerton. As a soloist, Brian focuses his musical efforts on performing repertoire that is infrequently
performed, as well as promoting the guitar to composers, to help grow the instrument’s repertoire. He has also performed in
various contemporary chamber groups like the Post Sonus Orchestra and CSUF New Music Ensemble. Brian helped found
the annual Women of the Guitar Series at Buffalo State, where he received an award from the President’s Council on Equity
and Campus Diversity for his efforts. He teaches privately, directs a guitar ensemble, leads an after-school ukulele program,
and has taught for the Guitar Foundation of America’s Youth Guitar Summit. Brian joined the GFA Staff in 2018 and can
be reached at bgeary@guitarfoundation.org.

Guitar Summit and Orchestras Director: Chuck Hulihan, has enjoyed a career over the past two plus decades as a
guitarist, educator, conductor, narrator, arts administrator, and as a classical music radio host. Chuck has directed the guitar
program at Glendale Community College since 1999, where he is the Assistant Department Chair for Performing Arts, and
in 2015 he was chosen by his peers to receive the GCC Gaucho Globe Award for Supporting Student Success. His work
at GCC is highlighted by collaborations with composers whom have written new works for the GCC Guitar Ensembles,
including Mark Houghton, Rex Willis, Jan Bartlema, Adrian Andrei, Frank Wallace, Andrew York, Vito Nicola Paradiso,
Francisco Munoz, Aramis Silvereke, and Phil Moloso. Since 2000, his students have consistently won the Artists of Promise
competition in both solo guitar and instrumental ensemble categories, and in 2014 the GCC Guitar Octet won the Guitar
Foundation of America’s Ensemble Showcase Competition and went on to perform two world premieres at the 2014
convention. Chuck can be reached at: rferguson@guitarfoundation.org.

Soundboard Editor: Robert Ferguson has been active in the classical guitar community for four decades, teaching,
performing, composing, arranging, writing, and broadcasting. He received his undergraduate and graduate degrees
from Indiana University, the latter from the Jacobs School of Music, where he studied performance with Ernesto
Bitetti and Thomas Binkley. Other mentors include Javier Calderon and Jeffrey Noonan. In addition to applied
guitar, Bob teaches guitar history and literature at IU’s regional campus in Fort Wayne. His radio program, Guitar
Showcase, has aired weekly on NPR affiliates WBNI and WBOI since 1985. He has contributed to Soundboard
since the early 2000s. Bob can be reached at: rferguson@guitarfoundation.org.

Soundboard Scholar Editors:


Thomas Heck and Jonathon Leathwood
See bios on page 53 and 66.
Thomas and Jonathan can be reached at: sbs@guitarfoundation.org.

82 MIAMI
GUITAR FOUNDATION OF AMERICA
Personnel
Tour Director: Teresa Hayward is a singer, songwriter, performer and voice teacher from Chicopee, MA, currently
living in Louisville, KY. In May of 2017, Teresa graduated from The Hartt School of the University of Hartford with
a Bachelor’s of Music in Music Management and Jazz Voice. At the Hartt School, she studied with the distinguished
jazz vocalist, Professor Shawnn Monteiro, and performed with esteemed faculty including internationally-renowned
and highly revered jazz bassist, Professor Nat Reeves, as well as luminary jazz pianist Matt Dechamplain. During
college, she had the opportunity to work as Administrative Assistant for the arts non-profit Blues to Green Inc.,
helping to organize the annual Springfield Jazz and Roots Festival in Springfield, Massachusetts. For over 10 years,
Teresa has been singing and performing many different genres and styles of music, and has performed as a soloist
in various jazz ensembles, quartets, trios, and big bands, and was also a singer in the Hartford-based indie-pop/rock
band, Art School Girls, as well as the lead vocalist in her duo band, Quietside. Teresa currently teaches private voice
and piano lessons, and is thrilled to be working as Tour Director for the Guitar Foundation of America. Teresa can be
contacted at: thayward@guitarfoundation.org.

International Ensemble Competition Director: A passionate educator, performer, and advocate of the classical
guitar, Michael Kagan enjoys a vibrant career as the Director of Guitar Studies at the Youth Performing Arts
School (YPAS) in Louisville, Kentucky, serves as the International Ensemble Competition Artistic Director for
the Guitar Foundation of America, and is President of the Louisville Guitar Society—a 501c3 that promotes
live music, educational opportunities, and musical community through the guitar. In 2016, Michael successfully
passed an eight course curriculum for the first magnet program for the guitar in the state of Kentucky. He is
currently building local audiences and initiating after school guitar programs to engage and enrich the Louisville
community. As a performer, Michael’s most recent engagements have included a program of Schubert’s music
for guitar and voice and Tedesco’s Romancero Gitano. Michael can be reached at: mkagan@guitarfoundation.org.

Ad Sales Manager and Vendor Expo Manager: Ryan Ayers is a solo guitarist mixing together classical and
fingerstyle techniques with accessible songs forms and structures. His stage show is a well crafted blend of
engaging music and interesting stories which have captivated audiences on both coasts. Ryan began playing
guitar at the age of thirteen. He attended Loyola Marymount University and graduated with degrees in
classical guitar performance and recording arts. He worked for nine years selling classical, flamenco, and steel
string guitars at Trilogy Guitars in Playa Del Rey, CA. An active composer for over ten years, Ryan released
his first record of original pieces for guitar entitled ermita in 2011 and he has continued writing and touring
to share his music with audiences ever since. Ryan can be reached at: rayers@guitarfoundation.org.

International Youth Competition Director: Lynn McGrath has performed, adjudicated, and lectured on four
continents and is a member of the acclaimed Tantalus Guitar Quartet. She earned multiple Bachelor’s Degrees
from SUNY Potsdam and received a M.M. and D.M.A. from the University of Southern California. Her
students have performed on NPR’s “From the Top,” placed in multiple international competitions at the youth
and collegiate levels, and have received scholarship to attend some of the most competitive guitar programs
in the United States. Lynn is the guitar instructor for a thriving program at the Eastman Community Music
School, Eastman School of Music in Rochester, NY. On staff with the GFA for more than a decade, she was
Tour Director for seven years followed by three years as the Regional Symposia Director, and is entering her
fourth year as the Director of the International Youth Competition. Lynn can be reached at:
iyc@guitarfoundation.org.

Publications Art Director: Colleen Gates has worked as a graphic designer, creative services manager, and art
director for various corporations and design studios, including Aaron Brothers Art & Framing, United Artists
Theatres, and Frederick’s of Hollywood. She is owner and creative director of GATES by design, a graphic design
and creative services studio focused in the areas of the arts, education, and non-profit organizations. Colleen has
enjoyed designing several guitar-related projects connected to the Thornton School of Music and Doberman-Yppan
Editions. She holds a Bachelor of Fine Arts degree from the University of Denver. Colleen joined GFA in 2015 and
lives in the Los Angeles area with her husband, a composer, and two children. Colleen can be reached at:
cgates@guitarfoundation.org.

Education Director: Matthew Nishimoto has taught the guitar classes and been the director for the guitar
ensembles at Coronado High School in Henderson, Nevada since 2003. His award-winning program has been
recognized by the GFA, the Grammy Foundation, and the National Association for Music Education. Dr.
Nishimoto earned a B.A. in Music Ed from UNLV, where he also received a M.Ed. in Educational Leadership
and a Ph.D. in Teacher Education. His research into the issues of new teachers led him to the topic of the
role of expertise in instruction—the target of inquiry of an ongoing overarching study regarding the expert
blind spot effect and guitar pedagogy. He also publishes and lectures on the topics of teacher socialization and
educational leadership roles. Matthew can be reached at: mnishimoto@guitarfoundation.org.

MIAMI
GUITAR FOUNDATION OF AMERICA
We gratefully acknowledge our donors who have so generously supported us.*

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MIAMI
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION
INTERNATIONAL INTERNATIONAL
CONCERT ARTIST COMPETITION ENSEMBLE COMPETITION
PAST WINNERS PAST WINNERS
2018: Raphaël Feuillâtre (France)
2017: Tengyue Zhang (China)
2016: Xavier Jara (U.S.A.)
2015: Thibaut Garcia (France) Felice Guitar Quartet
2014: Ekachai Jerakul (Thailand)
2013: Anton Baranov (Russia) California Conservatory of Music
2012: Rovshan Mamedkuliev (Russia)
2011: Vladimir Gorbach (Russia)
2010: Johannes Möller (Sweden)
2009: Florian Larousse (France)
2008: Gabriel Bianco (France)
2007: Marcin Dylla (Poland)
2006: Thomas Viloteau (France) INTERNATIONAL
2005: Jérôme Ducharme (Canada)
DUO COMPETITION
2003: Jérémy Jouve (France) PAST WINNERS
2002: Dimitri Illarionov (Russia)
1985: Douglas Rubio and Paul Rosandich (U.S.A.)
2000: Martha Masters (U.S.A.)
1999: Lorenzo Micheli (Italy)

1997: Judicaël Perroy (France)


1996: Fabio Zanon (Brazil)

1994: Margarita Garcia Escarpa (Spain)


1993: Kevin R. Gallagher (U.S.A.)
1992: Jason Vieaux (U.S.A.)
1991: Alexey Zimakov (Russia)

1989: Marc Teicholz (U.S.A.)


1988: Olivier Chassain (France)
1987: Ricardo Cobo (Colombia)
1986: Peter Clemente (U.S.A.)
1985: Mary Akerman (U.S.A.)

1982: Michael Chapdelaine (U.S.A.)

INTERNATIONAL YOUTH COMPETITION


PAST WINNERS
2018: Senior Division: Julio César Robles López (Mexico) | Junior Division: Eric Wang (U.S.A.)
2017: Senior Division: Shilong Fan (China) | Junior Division: Leonora Spangenberger (Germany)
2016: Senior Division: Kevin Loh (Singapore) | Junior Division: Tiange Wang (China)

2014: Senior Division: John Bogan (USA) | Junior Division: Xu Kun Liu (Canada)
2013: Senior Division: XiaoBo Pu (China) | Junior Division: Grace Sheppard (USA)

2011: Senior Division: Xavier Jara (USA) | Junior Division: Thomas Pfefer (USA)

2008: Senior Division: Molly Manarchy (USA) | Junior Division: Saki Kato (Japan)

2006: Thales Smith (USA)


2005: Travis Johnson (USA) MIAMI 85
GUITAR FOUNDATION OF AMERICA
INTERNATIONAL CONVENTION & COMPETITION

VENDOR EXPO

52 Instrument Co. Editions Henry Lemoine Savarez


52instruments.com www.henry-lemoine.com www.savarez.com
jeremy@52instruments.com info@henry-lemoine.com
Sean Spurling Guitars
Aaron Shearer Foundation The FJH Music Company Inc. spurlingguitars.com
aaronshearerfoundation.org www.fjhmusic.com spurlzee@yahoo.com
info@fjhmusic.com
Augustine Stringletter Publishing
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Azaret Guitars timelessgtrs@sasktel.net Strings By Mail
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joazaret@gmail.com Bill Glez Guitars
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Thomas Baldwin Guitars Facebooktxgg@sbcglobal.net
Baldwinclassical.com Hill Guitar Company
baldwin@swva.net www.hillguitar.com Traphagen Guitars
krhill@hillguitar.com www.traphagenguitars.com
Joel Barbeau Luthier dake@traphagenguitars.com
www.jbluthier.com Kopecky Guitars
joel.barbeau@hotmail.com www.kopeckyguitars.com Zebulon Turrentine
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Kris Barnett Guitars zebulont@gmail.com
krisbarnettguitars.com Dogal Strings
barnettguitars@gmail.com www.dogalstrings.it Ubach Method for Guitar
info@dogalstrings.it http://www.ubachmethod.com
Gregory Byers, luthier contact@ubachmethod.com
byersguitars.com Garrett Lee, Luthier
byersguitars@gmail.com GarrettLeeGuitars.com Wiseman Cases
gary@GarrettLeeGuitars.com www.wisemanlondon.com
Cadiz Guitars sales@wisemancases.com
www.cadizguitars.com Mel Bay Publications, Inc
cadizguitars@gmail.com www.melbay.com Vincent Xu Luthier
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Vicente Carrillo Guitars MicroTōne Guitars vincent.hao.xu@gmail.com
www.vicentecarrillo.com www.micro-tone.com
luthier@vicentecarrillo.com mattknudstrup@gmail.com Yanlei Luthier
510967117@qq.com
Luthier. David Chaves Productions d’OZ / Doberman
guitarrachaves@gmail.com www.productionsdoz.com
e.dussault@productionsdoz.com
Reverie Classical Guitars
www.reverieclassicalguitars.com Wood Ring Guitars
david@reverieclassicalguitars.com www.woodringguitars.com
aaron@woodringguitars.com
Kevin J. Cope
www.kevinjcope.com Rokkomann, Inc.
kevin@kevinjcope.com www.asturias.jp

D'Addario Toby Rzepka, Luthier


www.daddariofoundation.org www.tobyrzepka.com
toby@tobyrzepka.com
Joshia de Jonge Guitars
www.joshiadejonge.com
info@joshiadejonge.com

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2019
MIAMI 87
2019
MIAMI
INTERNATIONAL COMPETITORS 2019
...
...................
2019
Junior Division MIAMI
Senior Division
..........

XXXVII INTERNATIONAL CONCERT ARTIST COMPETITION 2019

COMPETITORS
PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND
Grand Overture Prelude, BWV 997
“Le depart” Op. 31

El decamerón negro
Virtuoso Waltz No.1
Etude No.12 Jaz-ical-blu-roc

Christopher Allen
U.S.A.

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Variações Sobre Sons Estudio de Concerto No. 3 Toccata
de Carrilhoes

Aquarelle Sonata para guitarra

Capriccio diabolico Clown Down, from Triaela


Lucio Aparecido Dos Santos

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Capriccio diabolico Pavana Triste, and Finale, from Fantasia Sevillana
Sonata para guitarra
Phosphenes
La gran sarabanda
Equinox

Giulia Ballare Sonata Op. 61

MIAMI
XXXVII INTERNATIONAL CONCERT ARTIST COMPETITION 2019

COMPETITORS
PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND
Gigue, BWV 1004 Allemande and Courante, Fandango, from
BWV 1004 Tres piezas Españolas

El sueño de la razón produce


monstruos, from 24 Caprichos Allegro con spirito, from Sarabande and Chaconne,
de Goya Sonata Op. 77 BWV 1004

Jeseok Bang
Passacaglia and Zapateado, Caprice No. 24
from Tres piezas Españolas

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Fantasia No. 33 Ricercar No.34 Prelude No. 1 in D minor,
Endecha y Oremus

Aria, from Allegro Moderato,


Sonata Op. 77
from Sonata para guitarra

Final, from Sonata para guitarra


Robby Brown Fugue and Double, BWV 997
U.S.A.

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Praeludium Adagio and Allegro Assai, BWV
1005

Fantasy on Themes from Fugue, BWV 1005


Fantasia in A

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Fantaisie Hongroise, Op.65, Moderato apassionata,
No. 1 from Sonata No. 3 from Sonata No. 3

El villano, Pesame dello amor


Salseado, from Sonata Allegro, Alla Cubana, and and El rey Don Alonso el Bueno,
Con slancio, from Bagatelles from Escarraman, Op. 177

Bokyung Byun Fantasia P. 71

Las ciclades arcaicas, from

2019
90 MIAMI MIAMI
XXXVII INTERNATIONAL CONCERT ARTIST COMPETITION 2019

COMPETITORS
PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND
Caprice No.7 and 21 Etude No. 7

n
Sonata para guitarra Bagatelles No. 1, 4, and 5
Aire Vasco

Sonata giocosa

Lazhar Cherouana

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Capriccio diabolico Passacaille
de Scriabine

Vals Estudio No.1

Sonata No.1
Gian Marco Ciampa

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Rondena Tres piezas Españolas
de España et Fugue

Tiento Sonata VI Op. 31


Fantasías 40 and 21

Brendan Evans
U.S.A.

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Aquarelle Moderato and Theme and
Semi-Suite Grand Sonata
No. 2
ni
Grand Overture
Valseana, and Prelude and
Aquarelle
Da’ase
Yunxiang Fan
Open Up Your Ears

2019
MIAMI MIAMI 91
XXXVII INTERNATIONAL CONCERT ARTIST COMPETITION 2019

COMPETITORS
PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND
La gran Sarabanda Sonata K. 466

Sonata K. 209 Sonata para guitarra


Étude No. 12

Percussion Study
Pauline Gauthey
Equinox

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Gallarda, from Escarraman, Allegro moderato, from Le Départ, Op. 31
Op. 177

El Canario, from Escarraman,


Lob der Tranen, D. 711 Final, from Suite for Guitar, Op. 177
Op. 41

The Sonata of Loneliness


U.S.A. The Red Fantasy

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Estudio de acordes

Chanson, from Sonata III Guitarresca Guitarresca Gredos San Diego

Caprice No. 5 Capriccio diabolico


Mircea Gogoncea

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Sonata para guitarra Fantasia No. 33 Etude X

While We’re Young Fantasy on Bill Evans’ When You Wish Upon a Star...
“We Will Meet Again”

For Whom the Bell Tolls


Phil Goldenberg Elogio de le danza
U.S.A.

2019
92 MIAMI MIAMI
XXXVII INTERNATIONAL CONCERT ARTIST COMPETITION 2019

COMPETITORS
PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND
Con pasion and Sarabande from Hommage a Chopin
Espresivo, casi religioso,
from Sonata er
Sonata Five Bagatelles

Andrzej Grygier

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Forlorne Hope Fancy Cataluña Op.47, No.2 Hungarian Fantasy

Sarabande/Double and Praedulium and Fantasia


from Fantasy for Guitar Bourree/Double, BWV 1002 in G Major, P.1

Jack Hancher

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Aragon, from Suite Española, Rondeau de concert, Op. 12 Ciaconna, from
Op. 47 (Arr. Alec Holcomb) Violin No.2 BWV 1004

Serenata, from España, Op. 165


III. Moderato and IX. Largo, (Arr. Alec Holcomb) Étude No. 10
from 36 Caprices, Op. 20

Preludio-Fantasia, from Suite for Pavana triste, from Sonata


Alec Holcomb para guitarra
U.S.A. Solo Cello (Arr. Alec Holcomb)

Malagueña, from España,


Op. 165 (Arr. Alec Holcomb)

2019
MIAMI MIAMI
XXXVII INTERNATIONAL CONCERT ARTIST COMPETITION 2019

COMPETITORS
PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND
Rondo Brillante Op.2 No.2 Prelude, from BWV1006a Recuerdos de la Alhambra

Five Bagatelles La Catedral

Sonata

Yuexuan Huang

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Sinfonia, from Second Keyboard Allemande, from Second Thème varié et Finale

Sonata del Caminante


Minstrels Sonata No.2

Zarabanda lejana
Henry Johnston Segoviana
U.S.A.

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Sarabande and Gigue, from Étude No. 4 Sonata Fantasia

Pavana Triste and Final,


from Sonata para guitarra

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Capriccio diabolico El decamerón negro

Sevilla Danza de las diosas negras,


from Rito de los orishas

Chanhyeok Lee

2019
MIAMI MIAMI
XXXVII INTERNATIONAL CONCERT ARTIST COMPETITION 2019

COMPETITORS
PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND
A Fancy Chaconne, BWV 1004

Rossiniana No.1
Aquarelle

Hungarian Rhapsody No. 2


Mengyi Li

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Study No. 6 K. 408 Thème varié et Final

Study No. 7 K. 377 Andante and Vif, from


Assaggio in G Minor

Allegro, from Assaggio in Premiere Fantasie in


G Minor Adagio and Allegro, from
David Margolis Sonata No. 19 in E minor
U.S.A.

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


The Harp and The Shadow Sonatas K.77 and K. 491 Chaconne, from 2nd Violin

Air varié sur un thème de


l'opéra de Bellini “Montecchi

Taiki Matsumoto

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Prelude from Lute Suite in E Fantasy Divisions Threnody
Major

Allegro moderato
Hungarian Fantasy Andante sostenuto

Michael McGeary Prelude 5

2019
MIAMI MIAMI
XXXVII INTERNATIONAL CONCERT ARTIST COMPETITION 2019

COMPETITORS
PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND
Harmonie du Soir Sonata K.87 and K.162 Chaconne, BWV 1004

La Joia, La Calma, and Sonata No.2


La Frisança, from

Bogdan Mihailescu

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Fantasia Rondo Brillante No. 3 Arpoador, from Three

Allemande, from the Second Aire Basco


Sonata Op. 77

Sinfonia, from the Second


Cyprien N'tsaï

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Fantasia P. 5 and P. 1 Prelude, Fugue and Allegro,
John Smith, His Almain BWV 998

Etude No. 12
Rossiniana No. 5, Op. 123

Undercurrents, from
Takuya Okamoto

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Étude No.7 Homenaje pour le tombeau Fantasia No.7, Op 30
de Debussy

Sevillana Sonata Op.47

de la Norma, Op. 16

Dmytro Omelchak Due Canzoni Lidie


Ukraine

2019
MIAMI MIAMI
XXXVII INTERNATIONAL CONCERT ARTIST COMPETITION 2019

COMPETITORS
PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND
Fantasia No. 1 for Solo Violin in Homenaje pour le tombeau Evocación and El Puerto, from
Bb Major (arr. C. Marchione) de Debussy Iberia Book 1 (arr. J. Riba)

Sonata K. 209 (arr. G. Abiton) Sonata K. 491 (arr. D. Russell)

Air varie sur un theme de Bellini Allegro con spirito, Tempo di


Ji Hyung Park
de l'opera “I Montecchi e
from Sonata Op. 77

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Thème varié et Final Fantaisie Hongroise Caprice No. 24

Étude No.12 La gran Sarabanda


Sonata

Invocación y danza

Jesus Serrano Huitron


The Red Fantasy

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Toccata, Un Poco Allegro,
Adagio, Allegro, from Toccata
BWV 914

Sonata giocosa

Johan Smith

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Invocación y danza Saudade No.3 Ballada de la doncella
enamorada, from
El Decameron Negro
Sonata No.1

Nocturne and Reverie Op.19

Wang Tian Xiang Sonata Op.61

2019
MIAMI MIAMI
XXXVII INTERNATIONAL CONCERT ARTIST COMPETITION 2019

COMPETITORS
PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND
Preludio and Presto, BWV 996 Capriccio diabolico

La gran Sarabanda Chaconne, BWV 1004


Fuoco, from

Baba Yaga, the Hut on Fowl's


Toccata Legs and Great Gate of Kiev,
Marko Topchii from
Ukraine

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Junto al Generalife Songe Capricorne Aquarelle

Jongo Shenandoah
Caprice No.15

Allegro Assai, BWV 1005

U.S.A.

PRELIMINARY ROUND SEMIFINAL ROUND FINAL ROUND


Rondeau de concert Op. 12 Chaconne, BWV 1004 Giga, BWV 1004

Caprice No. 5
from Aquarelle John Dowland Op.70

No.1, 3, and 5,
Étude No. 2
Liying Zhu from

2019
MIAMI MIAMI
XV INTERNATIONAL YOUTH COMPETITION 2019
COMPETITORS

Jie Chen Derek Choi Elle Davisson


U.S.A. U.S.A.

PRELIMINARY ROUND PRELIMINARY ROUND PRELIMINARY ROUND


, Etude No. 11 , Mazurka-Chôro from , Prelude No. 3
Suite Popular Brasileira, No. 1

Fantaisie hongroise Op. 65, Songe Capricorne


Andante religioso and Allegro
No.1
solemne, from La catedral
FINAL ROUND
FINAL ROUND FINAL ROUND Sonata K. 208
Fantaisie hongroise Op.65, Passacaille
No.1
Joropo, from Suite del recuerdo
Recuerdos de la Alhambra
Fandango, from Tres piezas
españolas Songe Capricorne
Andante religioso and Allegro
solemne, from La catedral

Jack Davisson Aiwen Huang Calvin Junsay


U.S.A. U.S.A.

PRELIMINARY ROUND PRELIMINARY ROUND PRELIMINARY ROUND


Etude No. 12 Etude No. 8 Etude No. 7

Esordio and Scherzo, from Valseana and Preludio e


d'Espagne, Op.45
Sonata for Guitar, Op. 47 from Aquarelle

FINAL ROUND FINAL ROUND FINAL ROUND


Fuga, from BWV 1000
Granada from Suite española La catedral

Esordio and Scherzo, from d'Espagne, Op.45 Sarabanda de Scriabin and


Sonata for Guitar, Op. 47 from
Sonata for Guitar

2019
MIAMI MIAMI 99
XV INTERNATIONAL YOUTH COMPETITION 2019
COMPETITORS

Taylor Klinsky Aleksandr Lapshin Zehao Li


U.S.A.

PRELIMINARY ROUND PRELIMINARY ROUND PRELIMINARY ROUND


Prelude No. 12 Etude No. 7
from Suite Popular Brasileira,
No. 2
of Venice Op. 9
Tarantella, Op. 87a
FINAL ROUND FINAL ROUND
FINAL ROUND
Fantasia and Capricio Fandango and Passacaglia, from
Fantasia in C minor
Tres piezas españolas
El Sueño de la razon produce
Jutarnje Kolo (Morning Dance),
monstruos, from Caprichos Sonata No. 3
Zalopojka (Lament), Makedon-
De Goya, No. 18
sko Kolo (Macedonian Dance),
from Six Balkan Miniatures

Tarantella, Op. 87a

Muxin Li Yi Lu Yitao Luo

PRELIMINARY ROUND PRELIMINARY ROUND PRELIMINARY ROUND


Etude No. 3 , Prelude No. 1 , Etude No. 2
, Prelude, Presto and
Allemande, from BWV 996 Capricho Árabe Fantaisie hongroise, Op.65,
No.1
FINAL ROUND FINAL ROUND
, Prelude, Presto and FINAL ROUND
Allemande, from BWV 996 Sarabande, from Suite
BWV 997 Fantaisie hongroise, Op.65,
No.1
Allegro non troppo, semplice
and , Capricho Árabe
Variaciones sobre un tema
de Sor, Op.15
2019
100 MIAMI MIAMI
XV INTERNATIONAL YOUTH COMPETITION 2019
COMPETITORS

Andrei Orasanu Reade Park Qianchen Qiu


U.S.A. U.S.A.

PRELIMINARY ROUND PRELIMINARY ROUND PRELIMINARY ROUND


Etude No. 11 Etude No. 11 Etude No. 11

Vals No. 3, Op. 8 Bagatelle 1 and 2, from


by Handel, Op. 107 Five Bagatelles
FINAL ROUND
FINAL ROUND FINAL ROUND
Vals No. 3, Op. 8
Entrée Allegro assai, from BWV 1005

Largo and Fuoco from


Bagatelle 1 and 2, from
by Handel, Op. 107 Five Bagatelles

Sonata No. 1

Paulina Roughton Yitong Shi Wenjie Si


U.S.A.

PRELIMINARY ROUND PRELIMINARY ROUND PRELIMINARY ROUND


Etude No. 9 Etude No. 12 Etude No. 7

Siciliano and Presto, Elogio de la danza La catedral


from BWV 1001

FINAL ROUND FINAL ROUND


FINAL ROUND
Fandango, from
Au son de une accordeon, from Allegro assai, from BWV 1005
Tres piezas españolas
Suite Aubracoise, Op. 116
Elogio de la danza Fantaisie hongroise, Op.65,
Siciliano and Presto, No.1
from BWV 1001

El sueño del laudero, from


2019
MIAMI Imagenes de Paracho MIAMI 101
XV INTERNATIONAL YOUTH COMPETITION 2019
COMPETITORS

Mei Yin Steadman Chao Tang Raymond Tian


U.S.A.

PRELIMINARY ROUND PRELIMINARY ROUND PRELIMINARY ROUND


Etude No. 7 Etude No. 2

Prelude and Minuets 1 & 2, from La catedral Asturias from Suite española,
Cello Suite No. 1 BWV 1007 No. 1, Op. 47
FINAL ROUND
FINAL ROUND FINAL ROUND
Rondo in A minor
Prelude and Minuets 1 & 2, from
Cello Suite No. 1 BWV 1007 a Theme of Mozart, Op. 9
Allegro solemne,
from La catedral
Valseana, from Aquarelle Allegro solemme,
from La catedral

La catedral

Qianzheng Wang

PRELIMINARY ROUND
Etude No. 7

a Theme by Mozart, Op. 9

FINAL ROUND

a Theme by Mozart, Op. 9

Bagatelle No. 1,
from Five Bagatelles

2019
102 MIAMI MIAMI
XV INTERNATIONAL YOUTH COMPETITION 2019
COMPETITORS

Danica Allen Aytahn Benavi Ansel Bobrow


U.S.A. U.S.A. U.S.A.

PRELIMINARY ROUND PRELIMINARY ROUND PRELIMINARY ROUND


Etude No. 11 Etude No. 12 Etude No. 11

Preludes I, II, IV, VI Rondo No. 2 in A minor Copla and Fiesta, from

FINAL ROUND FINAL ROUND


FINAL ROUND
Jongo Prelude, from BWV 1012

La calma
Sarabande and Bourée,
from BWV 996
Rondo No. 2 in A minor

by Mozart, Op. 9

Francesca Boerio Sedona Farber Yuexuan Huang


U.S.A. U.S.A.

PRELIMINARY ROUND PRELIMINARY ROUND PRELIMINARY ROUND


Prelude No. 2 Prelude No. 5 Etude No. 7

Prelude and and Rondeau Invocación y danza La catedral


from BWV 1006a
FINAL ROUND FINAL ROUND
FINAL ROUND
Grand Solo, Op. 14 Rondo brillante, Op. 2, No. 2
Rondo in A minor
La Toccata de Pasquini,
Acentuado and Compadre,
from Sonata for Guitar
, from from Cinco piezas para guitarra
Whirler of the Dance

Prelude, from BWV 1006a

2019
MIAMI MIAMI
XV INTERNATIONAL YOUTH COMPETITION 2019
COMPETITORS

Boyu Jin Kyle Khembunjong Sudhansh Kumar


U.S.A.

PRELIMINARY ROUND PRELIMINARY ROUND PRELIMINARY ROUND


Chôro No. 1 Etude No. 7 Etude No. 1

Serenata española Ballad and Final, from Hummingbird


Suite for Guitar, Op. 41
FINAL ROUND FINAL ROUND
FINAL ROUND
Barcarolle Op. 51, No. 1 Hummingbird

Serenata española Prelude, from BMW 999

Fugue, from BWV 1000

Final, from Suite for Guitar, Op. 41

Ruien Li Romeu Lourenço Yukai Luo

PRELIMINARY ROUND PRELIMINARY ROUND PRELIMINARY ROUND


Etude No. 7 Etude No. 11 Etude No. 7

Rondo No. 2 in A minor Invierno porteño Grand Solo, Op. 14

FINAL ROUND FINAL ROUND


FINAL ROUND
Scherzo-Vals
Invierno porteño from Suite espanõla

Allegro, from BWV 1005


Moderato and Presto, Chanson and Allegro non troppo
from Koyunbaba from Sonata III
Allegro con spiritu and
Presto furioso, from Sonata, Op. 77

2019
MIAMI MIAMI
XV INTERNATIONAL YOUTH COMPETITION 2019
COMPETITORS

Filip Miskovic Avi Mushran Blaize Oswald


U.S.A. U.S.A.

PRELIMINARY ROUND PRELIMINARY ROUND PRELIMINARY ROUND


Prelude No. 3 Etude No. 7 Prelude No. 3

Fantaisie de concert, Op. 6 , from Suite española Vals No. 2 and Vals No. 3, from
Quatro valses venezolanos
FINAL ROUND FINAL ROUND
FINAL ROUND
La catedral and Tuhu,
from Hommage a Villa Lobos El arpa del guerrero, from
El decameron negro
La muerte del ángel
Prelude, from BWV 1006a
Julia Florida

, from Suite española


Vals No. 2 and Vals No. 3, from
Quatro valses venezolanos

Micha Rand Marc Saura


U.S.A. U.S.A.

PRELIMINARY ROUND PRELIMINARY ROUND PRELIMINARY ROUND


Etude No. 12 Etude No. 4 Etude No. 2

Tarantella from Bardenklänge, Fantasia No. 7 Prelude, from BWV 997


Op. 13
FINAL ROUND FINAL ROUND
FINAL ROUND
Fantasia No. 7 Prelude, from BWV 997
Mysterious Habitats

Appasionato and Allegro Elegie


Tarantella from Bardenklänge,
Op. 13 rítmico from Sonata No. 4
Sonata, Op. 61

2019
MIAMI MIAMI
XV INTERNATIONAL YOUTH COMPETITION 2019
COMPETITORS

Chenyu Si Angelica Sih


U.S.A.

PRELIMINARY ROUND PRELIMINARY ROUND PRELIMINARY ROUND


Etude No. 11 Prelude No. 1 Etude No. 11

La catedral Allegro solemne from La catedral from Sonata


for Guitar, Op. 42
FINAL ROUND FINAL ROUND
FINAL ROUND
Allegro solemne from La catedral
Vals Op. 8, No. 3
Capriccio diabolico, Op. 85
Capricho Árabe
Capriccio diabolico
(Homage to Paganini), Op. 85

Xiusong Wang

PRELIMINARY ROUND PRELIMINARY ROUND


Chôro No. 1 Etude No. 2

Caprice No. 24 in A minor


a Theme by Mozart, Op. 9
FINAL ROUND
FINAL ROUND
Caprice No. 24 in A minor
, from Suite española
No. 1, Op. 47
of Venice
and Final,
from Guitar Sonata

2019
MIAMI MIAMI
III INTERNATIONAL ENSEMBLE COMPETITION 2019
COMPETITORS

Cuarteto Eunoia Dulcet Guitar Duo Duo Morningstar


U.S.A.

Overture to the Opera Prelude and Fugue in C#


minor, from Les guitares bien
tempérées, Op. 199, No. 7
Waltz of the Flowers, Tango No. 1, from Tango Suite
from The Nutcracker

Ernesto Nazareth (Valsa),


from Suite Retrato

Tritonus Guitar Trio


U.S.A.

Evening Dance
Fugue K. 417 Le Marche des Scythes

La Vie Brève

Pavane pour une infante défunte from Suite Española


Jongo No. 1, Op. 47

Carnaval
E is Arguing,
from Scenes from the Life of E

MIAMI
III INTERNATIONAL ENSEMBLE COMPETITION 2019
COMPETITORS

Vea/Høymer Guitar Duo

Allegro, from Concerto No. 1,


Anitra's Dance, from Peer Gynt Op. 8, RV 269, "Spring"
Suite No. 1, Op. 46 (La primavera)

Oblivion
Sonata K.481,
Andante Cantabile
, from Suite Española
No. 1, Op. 47

Bear Dance, from Hungarian


Pictures, Sz. 97, BB 103

MIAMI
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