July 2026 Meeting Roundup
There was something rather special about our July meeting. Outside, temperatures remained firmly in the grip of the summer heatwave, and with holidays beginning for some, it would have been easy for attendance to dwindle. Instead, Lauderdale House was wonderfully full, and for a couple of hours we collectively suspended thoughts of the heat in favour of an evening of outstanding music, good company and fascinating introductions to the pieces being performed.
One of the great pleasures of the evening was the sheer breadth of music. Alongside works by some of history's greatest composers, we heard original compositions by Society members and imaginative transcriptions that brought music written for entirely different instruments, including the accordion, vividly to life. It was a reminder that classical guitar continues not only to preserve its rich heritage but also to evolve through the creativity of today's performers and arrangers.
Nick – Albéniz and Barrios
Nick opened the evening with two evocative works inspired by Spain's Moorish past.
Isaac Albéniz's Córdoba, from Cantos de España, was introduced with the composer's own inscription:
"In the silence of the night, interrupted by the whispers of breezes scented with jasmine, the guzlas accompany the serenades, spreading passionate melodies and notes as sweet as the swaying of palm trees beneath the lofty skies."
Nick explained that the guzla, a medieval multi-stringed instrument, is often regarded as one of the distant ancestors of both the vihuela and the guitar.
While many hear Córdoba as a nocturne, Nick offered an intriguing alternative interpretation. Rather than depicting only the stillness of the night, he suggested the music can be heard as portraying an entire day in Córdoba, beginning quietly with the first light of dawn, gradually gathering energy and intensity as the city awakens, reaching a dramatic climax before finally settling once again into evening calm. Listening with that image in mind gives the work an entirely new perspective.
He followed this with Agustín Barrios' Serenata Morisca. The title recalls the Moriscos, Muslims in Spain who were compelled to convert to Christianity following the Reconquista and during the period of the Spanish Inquisition. At roughly the same time, many Jews faced the same pressure to convert, becoming known as conversos, with those suspected of secretly maintaining Jewish practices sometimes labelled Marranos, a derogatory historical term. Barrios captures something of this rich cultural inheritance in a work that combines lyrical beauty with unmistakable Moorish colours, creating a fitting companion to Albéniz's musical portrait of Andalucía.
Together, the two works provided a beautifully atmospheric opening to the evening.
Avron – Carulli's Siciliana
Avron followed with Ferdinando Carulli's Siciliana, Op.121 No.15.
Avron admitted that Carulli and Carcassi have never been composers he naturally gravitated towards. Yet there was something about this particular piece that he found quietly captivating. Its flowing melody and graceful simplicity stayed with him, and that alone made it worth sharing.
The Siciliana is a dance form traditionally associated with Sicily, usually written in a gentle compound rhythm that creates a lilting, pastoral feel. Often used to evoke calm, reflection and nostalgia, it possesses an elegance that seems effortless. Carulli's setting captures those qualities beautifully, making it one of those understated works whose charm only deepens with repeated playing.
Robert – A Journey Across Latin America
Robert then transported us across the landscapes of Latin America through three vividly contrasting works. His three chosen composers painted a wonderfully varied musical picture of rivers, mountains and countryside, taking us on a remarkable journey across an entire continent South American landscape and culture.
He began with Andrés Pinedo Vargas' Chupizinata Yacuy, a work inspired by the waterways of the Amazon basin. The title references an Amazonian settlement and immediately conjures images of gently flowing rivers, dense forests and the rhythms of life shaped by the water itself.
From there we travelled to Bolivia with Alfredo Domínguez's Feria and Leyenda. Domínguez's music is deeply rooted in Bolivian folk traditions. Feria evokes the bustling energy of a village market, full of colour, movement and conversation, while Leyenda offers a more reflective contrast, suggesting the grandeur and mystery of the Andean mountains.
Robert concluded with Benjamín Aguilera's lively Chacrita Caprichosa, a joyful celebration of rural life, full of rhythmic vitality and infectious good humour.
Stuart and Steven – Duets Across Europe
Stuart and Steven once again delighted everyone with another set of beautifully crafted mandolin and guitar duets, arranged by Stuart himself.
They opened with Albinoni's Sonata IV, before moving to two delightful works by Tony Muréna: La Manouche and Méprise.
Muréna was one of the leading figures of the Parisian musette tradition. The title La Manouche refers to the Manouche people, one of the Romani communities of Western Europe, whose culture helped shape the distinctive gypsy jazz tradition associated with Django Reinhardt. The Romani people themselves trace their origins to northern India, arriving in Europe many centuries ago and developing rich musical traditions wherever they settled.
Méprise, whose title may be translated as Misunderstanding, Disdain or Mistaken Love, is nevertheless an engaging and joyful musette waltz. Stuart explained that producing an effective transcription for guitar and mandolin was no straightforward task, making the performance all the more impressive. The music retained all the warmth and charm of 1950s Parisian café music while fitting naturally beneath the fingers of both instruments.
They concluded with another wonderful transcription of Joe Privat's Jazz Waltz, continuing Stuart's fascinating exploration of Privat's music.
Steven – Banjo Through the Ages
Steven then demonstrated once again the extraordinary versatility of the banjo.
He opened with his own composition, Nightfall, a wonderfully atmospheric work. Through subtle bends, tremolos and expressive phrasing, effects more commonly associated with the classical guitar, he evoked evening breezes, fading light and the peaceful tranquillity of dusk.
This was followed by Emil Grimshaw's The Banshee, one of the great banjo solos of the early twentieth century. Grimshaw was instrumental in establishing the banjo as a serious concert instrument, and the piece remains one of the classics of the repertoire.
Steven concluded with G. Swain Buckley's Celebrated Minor Jig, dating from the mid-nineteenth century, during a fascinating transitional period in banjo history. Around this time performers increasingly moved away from striking the strings with the backs of the fingernails, the older "stroke style", towards finger techniques more closely resembling those used by classical guitarists today. The result was music capable of greater nuance and melodic sophistication, qualities Steven brought out beautifully.
Alan – Bach Brought to Life
Alan gave a beautifully poised performance of the Andante from Bach's Second Violin Sonata.
Before performing, he noted something many listeners may never have considered: the violin is tuned in fifths, whereas the guitar is tuned primarily in fourths. Despite these very different tuning systems, Bach's music translates remarkably naturally to the guitar.
As ever, Bach's music demonstrated its extraordinary depth. Few composers combine structural perfection, expressive beauty and intellectual elegance quite so completely, and Alan's thoughtful performance allowed those qualities to shine.
Richard – The Romantic World of Mertz
Richard presented three works by Johann Kaspar Mertz, one of the great guitar composers of the Romantic era.
His performances of the Trois Nocturnes, together with two pieces from Bardenklänge (Capriccio and Liebeslied), reminded us why Mertz occupies such a unique place in the guitar repertoire.
Listening to Mertz, one is often struck by how pianistic, and even orchestral, his writing can sound. His imaginative use of flowing arpeggios allows the guitar to sustain rich harmonic textures while maintaining lyrical melodic lines, creating music of remarkable emotional depth.
Richard never fails to deliver and captured that richness wonderfully throughout his set.
Fahran – Virtuosity and Colour
Fahran Washington, who introduced himself as having played from the age of 4, was one of the outstanding performers at our July meeting, and behind that superb performance lies an equally impressive musical journey.
As a child, Fahran studied classical guitar through the Haringey Music Service, where his exceptional talent quickly became apparent. His musical development led to a scholarship at the Royal Academy of Music before his return to to Haringey Music Service as one of its guitar teachers.
Having the pleasure of hearing Fahran play Domeniconi’s Koyunbaba and Dowland’s Fantasia, this is no surprise.
Carlo Domeniconi's Koyunbaba remains one of the masterpieces of the modern guitar repertoire. Written in an unusual C♯ tuning, the altered resonance transforms the instrument entirely, allowing shimmering harmonics and powerful open-string sonorities that would be impossible in standard tuning. Fahran performed it with remarkable control, producing a truly magnificent sound in which every note seemed perfectly placed.
He followed with Dowland's Fantasia, bringing elegance, clarity and remarkable poise to one of the great works of the Renaissance. It provided a fitting conclusion to an exceptional recital.
As a brief note, the Haringey Music Service has introduced thousands of young people across the borough to the joy of making music. The service provides music education for with the belief that every child should have access to inspiring and enjoyable music education and places a strong emphasis on ensuring that music is accessible to all young people through bursaries, reduced fees and instrument hire schemes.
If you have children or grandchildren living in Haringey, or know families in the area with musically curious youngsters, it is well worth exploring what Haringey Music Service has to offer.
Jake – Looking Forward
Jake closed the evening with one of his original compositions.
It is always a pleasure to hear members bringing new music into the Society, and Jake's piece was thoughtful, engaging and confidently written. Alongside Stuart's transcriptions and Steven's own composition, it reminded us that while we celebrate the great composers of the past, new music continues to be created today. The classical guitar remains a living instrument, continually finding fresh voices and new directions.
Looking Ahead
July's meeting perfectly captured what makes Lauderdale Guitar Society so enjoyable. We travelled from Renaissance England to Romantic Vienna, from Andalusia to the Amazon, from Parisian cafés to the Bolivian Andes, and from Bach to brand-new compositions written by our own members.
Thank you to everyone who performed, introduced their music and joined us on what turned out to be another memorable evening.
We look forward to welcoming everyone back in August. Whether you come to perform, listen or simply enjoy an evening among fellow guitar enthusiasts, there is always something new waiting to be discovered.
