May Meeting Roundup

It was another wonderfully varied and enjoyable evening at the Lauderdale Guitar Society on Wednesday 13th May, with members treating us to music spanning centuries, styles and continents; from Renaissance lute music and Baroque masterworks to jazz, folk, film-inspired compositions and Parisian musette.

A special thankyou to Stuart for being a fantastic compere by keeping us on track and giving up playing two of his pieces that he had prepared to allow everyone the opportunity to play and finish bang on time, which allowed some of us to head down to the pub afterwards.

Stuart opened the evening by performing two lively pieces associated with the rich French musette tradition: La Private by André Trichot and Pierre Péribois, alongside Zig-Zag by Jo Privat. Both pieces were originally written for accordion and beautifully transcribed for guitar by Stuart himself.

The history behind these works adds an extra layer of fascination. La Private was written about Jo Privat who was one of the most influential figures in musette music and the composer of Zig-Zag. Privat was a legendary Parisian accordionist whose music captured the spirit of the dance halls of Balajo and the vibrant café culture of mid-20th-century Paris. His music combined elegance, humour, rhythmic drive and unmistakable Parisian charm, all of which came through wonderfully in Stuart’s performances and arrangements.

Stuart also performed Souvenir du Balajo by Jo Privat and Jo Privat Jr., once again bringing the atmosphere of old Paris vividly into the room.

Nick took on Bach’s Prelude and Fugue BWV 998, navigating its intricate counterpoint and flowing musical lines admirably. It is always a pleasure to have the opportunity to hear such a monumental and rewarding work performed live.

Petros performed Robert de Visée’s Suite in D, and it was a real pleasure to have the opportunity to hear the entire suite performed. De Visée’s music can often be deceptively difficult, requiring great control, elegance and sensitivity from the performer, and it was wonderful to hear it played so well on such a fantastic sounding guitar. The performance transported us back to the refined sound world of the French Baroque court with warmth and style.

Avron brought contrast and charm with Matteo Carcassi’s Allegretto Op.21 No.17 and the ever-popular Minuet in G attributed to Christian Petzold, both played with warmth and musicality. Avron remarked on how Carcassi’s studies are an important part of many guitarists’ early musical journeys, while recommending that players also explore the studies of Julio Sagreras, which can often feel a little more varied and enjoyable to play musically.

The Minuet in G itself has an interesting history. Although long associated with J.S. Bach, the piece was actually written by German composer Christian Petzold. The confusion arose because the work appeared in the famous Notebook for Anna Magdalena Bach, a collection of music compiled for Bach’s wife, leading many later publishers to mistakenly assume Bach himself had composed it. Despite the confusion, it remains one of the most recognisable and beloved keyboard miniatures of the Baroque era.

Chris offered a beautifully varied set. The South Wind, written by Donall MacConmara and arranged by the late John Renbourn, carried the haunting and lyrical character so typical of Celtic music. Chris followed this with Tim Hardin’s classic If I Were a Carpenter, before moving into the unmistakable smoothness and sophistication of Jobim’s Desafinado.

Sara continued her exploration of Carcassi’s studies with Etudes 6, 7, 19 and 23, demonstrating both technical assurance and growing musical expression throughout.

Toby gave an engaging performance of Leo Brouwer’s Estudios Sencillos No.6, followed by Francesco Molino’s Preludio in F, contrasting modern rhythmic language with Classical-era elegance.

Lona delighted the audience with two pieces from the Renaissance tradition: the timeless Greensleeves and John Dowland’s Go From My Window. These pieces brought a gentle and reflective atmosphere to the evening and reminded us how naturally early music sits on the guitar.

Emma and Nick performed a lovely and expressive set together, including Ave Maria and The Song of the Shepherd Girl by Perisotti, alongside a traditional folk song. Their rendition of Ave Maria prompted some interesting discussion afterwards regarding the famous additional bar sometimes associated with the piece. The extra measure is often attributed to later editorial additions designed to smooth phrasing and accompaniment transitions, and over time it has become a curious little talking point amongst performers and arrangers of the work. Emma and Nick’s performance captured the lyrical beauty of the piece wonderfully regardless of version.

Alan’s performance of Cadiz by Isaac Albéniz was particularly memorable. Played with an exceptionally light touch and great sensitivity, Alan captured the elegance and subtle colour of the piece beautifully. The performance was delivered with poise and was greatly enjoyed by all present.

Ken once again demonstrated his flair for imaginative composition and arrangement with Warm Fusion, alongside his wonderful interpretation of ​Wallace and Gromit and On Discovering the Cheese Had Run Out. Full of humour, character and emotional nuance, the pieces perfectly captured the quirky comedic spirit associated with Wallace and Gromit. Ken’s writing continues to entertain and surprise us, and we are already looking forward to hearing more of his musical creations in future meetings.

Fabio treated us to three pieces by John Gardner, including a Pavane and a Nocturne. Fabio’s interpretation of these works was sublime, full of nuance, maturity and effortless musical control. It is always a tremendous privilege to hear Fabio perform, and the society is truly lucky to have such a musician in our midst.

Fabio will also shortly be performing at the English Music Festival in Dartington Hall, Totnes, Devon on Saturday 23rd May at 9.30pm. The concert will feature works by Bridge, Pitfield, John Gardner and Ernest Shand’s evocative March of the Pixies. Set within the stunning surroundings of Dartington’s medieval Great Hall, it promises to be a magical evening of guitar music in one of the country’s most atmospheric festival settings.

Thank you once again to everyone who performed, attended and supported another excellent evening of music-making at the Lauderdale Guitar Society.