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Here are four short pieces I recently performed for the “DC Corner” group of Classical Guitar players who gather monthly to play for each other and gain some performance experience.  The first piece is by Alexander Scriabin – Prelude, Op. 16, No. 4, in E flat minor (for piano). Scriabin went on to write a whole set of variations on this theme dedicated to Andrew Segovia in 1972.  Here I play just the theme arranged in A minor by guitarist Matt Palmer.

I follow the Prelude with three short pieces by Gulli Björnsson titled Landslög – (landscapes) from a set of 11 pieces for solo guitar drawing inspiration from Icelandic landscapes. These three pieces work well together and are atmospheric in style. Björnsson is a young musician/composer who often combines electric instruments and visuals in his performances. I have really enjoyed exploring his music.

I am using two new microphones in this recording – Line Audio CM4s. They are well balanced across all frequencies which is essential when trying capture such a sensitive and delicate instrument as the classical guitar.  Enjoy.

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Apart from being an appreciative student of the classical guitar, I am fortunate to serve part-time in a local Episcopal community of faith, St. Paul’s in Ivy, Virginia. This week, I was asked to offer a prelude for the virtual YouTube service on Sunday.

In this time of social distancing, my position has been somewhat “repurposed” as video editor for all of St. Paul’s online liturgies. This is an unedited performance of Prelude 3 by Heitor Villa Lobos. This video will open the liturgy of Morning Prayer on Sunday (Aug. 23). I put this video together in the spirit of “Visio Divina” – “sacred seeing,” an ancient form of mindfulness that encourages the heart and imagination to enter into image, music, and silence as a way of opening to the experience of beauty, to what seems transcendent in our current experience. This is a distinctively human capacity we all share.

I’m grateful to offer this extraordinary Prelude by Villa-Lobos in the context of a community gathered online for prayer. You just never know where the guitar might take you.

 

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In June at the Annual Classical Guitar Corner Academy Summer School we undertook a rather special project that brought together over 60 guitarists, cellist Dr. Jacques Lee Wood, and Maestra Janet Agostino.

Janet is currently undertaking a Ph.D at New South Wales University in Sydney Australia and her focus is on arranging for guitar ensemble. .Janet created an arrangement of the moving Concerto in D by Alessandro Marcelo. This piece, which was originally for Oboe and orchestra makes a wonderful transition into this setting for Cello and guitar Orchestra.

We only had five days to bring this piece together and it was an honor to share in the process.  You will see me at about 15 seconds into the second video!

First Movement

Second Movement

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“Your central tasks are finding inner peace and strength, on the one hand, and being very well-prepared for your performances, on the other.” —Eric Maisel, author and psychologist

A common theme among classical guitarists who aspire to offer solo performances for the public is the management of stress and anxiety when taking the stage and playing one’s repertoire.  As a solo guitarist, there is a constant flow of micro-movements required in both the left and right hands.  Our mental and physical capacity need to be highly focused on the developing phrases of the music at hand. Mental distractions are common including self-criticism, fear of judgment, failure, lack of preparation, or music that is beyond one’s technical capacity.  It’s one thing to play well in the practice room.  It’s a wholly different matter to perform with genuine confidence in public.

Of the many resources out there for improving one’s approach and capacity to perform, I have found both Dr. Noa Kageyama’s online course “Beyond Practicing” to be invaluable on this topic. Also, I have found the book, “The Musicians Way,” written by guitarist and professor, Gerald Klickstein, to be another invaluable resource.

Each of us is unique and will learn to improve our performance capacity over time as well as through trial and error. The last thing I want to do is become so preoccupied with all the performance theory I’m reading, that my mind is overwhelmed with applying concepts and principles instead of being in the present moment of beauty and generosity on stage!

If I could simplify what has been most helpful in my research, I would include these three concepts:

Choose repertoire pieces that are within your capacity – Gerald Klickstein writes: “Accessible repertoire is the rocket fuel of performance development.” On occasion, I have chosen pieces to perform in my recitals that were right on the edge of my capacity, and as a result, my anxiety increased while onstage. Much better to choose pieces that are not only artistically enjoyable but clearly within our reach.

Practice Performance – Once we have spent time intentionally practicing our performance repertoire, it’s time to leave the practice room and simulate a performance with regular run-throughs (no stopping), in front of a camera, friends, or a small gathering like a “house concert” to gain “live experience” with the music and the act of performing it. I find this stage almost as satisfying as a public performance itself. What a joy it is to hear the music sing from our instrument – to freely express the artistic energy that is within us!

Develop a Pre-Performance Routine – There is no question we can bring down our heart rate and release tension through deep breathing and clear intention. I incorporate mindful contemplative prayer as one of my spiritual practices. It has been helpful to transfer that practice as part of my performance routine.

Above all, I try to remember that my intention is to create an environment of “beauty” and “generosity.” As guitarist Kevin Gallagher said in one of his coaching sessions – “I get to hold the box. I get to move the strings. I get to express the music for all of us to enjoy.” With that kind of intention, I don’t think there can be a bad performance, no matter how many buzzes, lapses, or silly errors we make.