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GUITAR x 2, pleasure squared Weslea Sidon BLUE HILL — GUITAR x 2, the duo Harris Becker and
Pasquale Bianculli, brought the unique intimacy of classical guitars and
lutes to the Liberty School in Blue Hill on Saturday, Aug. 9. It was an evening of serious but buoyant music,
encompassing the works of guitarist-composers from the 16th century to the
present, and requiring a masterful array of virtuoso techniques from both
players. The classical guitar has a long, cyclical history
of mad popularity and complete dismissal. The modern classical guitar era
began when Andres Segovia synthesized a technique that was strong enough to
fill a hall without amplification and precise enough for an emotionally
charged performance. His success revitalized the existing guitar repertoire,
and inspired new generations of guitarists and composers. The virtuoso
classical guitar duo was also rediscovered, reenergized and put into
performance. Because the guitar is played right next to the
heart, I love to think it is played by the heart itself, and I never hear
good classical playing without feeling connected to our common humanity. GUITAR x 2 has the skill sensitivity to give an
audience that connection. The program was filled with composers who clearly
knew the outer limits of the instrument and had no fear of going there. When
great players compose for an instrument they love, and other great players
take up the challenge, the audience gets to hear a sonic world that few of us
could ever reach on our own. GUITAR x 2 has beautiful balance of tone and
timbre. Mr. Becker and Mr. Bianculli have played together for many years, and
their communication is flawless. Duets are not just two easy parts put
together to sound hard. The opposite
is often true. The first piece of the evening, Souvenir de Russie, Op. 63 by
Fernando Sor (1778-1839), was probably written to be played with another
master guitarist-composer of the era, Aguado. Sor — always referred to as the
“Beethoven of the guitar,” composed complex works that demanded uncompromised
technique. The duo separated for two sets of solo lute. Mr.
Bianculli played what he referred to as “folk lute,” a group of traditional
tunes used for dancing and personal amusement in the 1600s. These were a charming link to the rest of the
program. The use of popular music then, as now, brought a sense of
familiarity to new works written to be listened to. Mr. Becker played works of the famous
lutenist-composer, John Dowland (1563-1626). Dowland wrote songs, dances and
“Fancies” excursions into a theme, a rhythm, a whatever, that kept going until
there was nothing more to say. Most of the works on this program were modern,
and included “Prayer,” a beautiful meditation by Fred Hand, as well the
stunning Long Island Suite Op. 101 composed for the duo by Carlo Domeniconi.
Like much modern guitar music, this work calls on the guitar’s ability to be
playful without sounding giddy, and philosophical without being stodgy. The last works were by three modern Brazilian
guitarist-composers. Although the composers, Sergio Assad (b. 1952), Celso
Machado (b. 1953) and Paulo Bellinati (b. 1950) come from the same venerated
traditions, the juxtaposition of these works perfectly demonstrated the
infinity of sound within the guitar. The irrepressible Brazilians use all the
percussive qualities of the guitar, and the effects were exhilarating. (A
preconcert lecture by guitar maker Thomas Bazzolo touched on the sounds of
the wood used for different parts of the guitar, so the percussive elements
were even more vivid.) The night was hot and humid, too, and a dream of being
carried to Brazil on wings of song seemed perfectly reasonable for that
moment. The
concert was produced by Guitar Intensives and Liberty School in Blue Hill,
who are sponsoring a week of instruction in all guitar genres. The quality of
the concert bodes well for Guitar Intensives, and we should be hearing more
from them in the future. I hope to have the opportunity to hear GUITAR x 2
again — and again. |
