Category Archives: Guitar Ensemble

Guitar weekend in Benslow 11-13 October 2024

Posted on by

UK guitarists! It’s here again…

Tired of practising on your own? Looking to improve your musical skills?

Join us in a guitar ensemble with a friendly group of like minded people in lovely surroundings!

More or less expertly held together by Gerald Garcia !

This year’s music will include:

one of these

Piazzolla:

Muerte del Angel
Adios Nonino
Libertango

Tony Eastwood Welsh Folk Songs

J.S.Bach Italian Concerto

and more(?) to follow

You will receive music in advance, and there will be a performance on the Sunday followed by tea…

Full board and lodging is provided on site.

For info and booking, email:

musicweekends@btinternet.com


Weekend Programme

The guitar ensemble rehearsal/tuition programme is determined by its director, but typically consists of sessions:

• After dinner on the Friday

• Saturday morning

• After tea on Saturday

• After dinner on Saturday

• Sunday morning

The period between lunch and tea on Saturday is free – you can explore the grounds, go into town, practise, play with other guitarists or singers or just rest.

Prices

On Saturday evening there will be an informal concert at which both singers and guitarists who wish to perform to the others may do so.

We aim to make no profit from these weekends so our prices for accommodation reflect the tariff of the venue. The prices for accommodation including all meals, tea and coffee will be updated soon.

Participant in a single room

Participant sharing a double or twin room

Non-participant sharing a double room

This is a special rate for a spouse or partner to accompany a guitarist or singer.

These rates do not include tuition/direction. Each guitarist is expected to pay Gerald

Bookings are to be accompanied by a deposit of at least £50 per person. This represents a commitment to pay the rest a few weeks before the weekend. If we do not accept your booking or do not provide the accommodation, then we shall return whatever you have paid.

Notes

Special requirements

If you have any special preferences for food or accommodation, then let us know when you book, and we shall do our best to satisfy them. There are some rooms suitable for people with limited mobility and the venue’s catering team will do their best to provide dishes to meet guests’ special requests if notified in advance.

(The small print here is that while we endeavour to meet special requirements, if these arise from medical conditions then we do not want to know about that and take no medical responsibility. Data protection regulations, we believe, permit us to hold the information that we need about you, but not about your health.

Interview: Stephen Mattingly in the shed and the pub

Posted on by

Steve MattinglyI seem to have known Stephen Mattingly for years.

We first met at the GB Summer school (which Gilbert Biberian and I directed many years ago) and Stephen regularly keeps cropping up at guitar festivals.
He is a member of the Tantalus Guitar Quartet who recorded my “Blue Nose Ballads” on Debut.

At GFA 2013 Louisville, he and the Tantalus Quartet gave the first performance of my piece “Spectral Dreams” for Guitar Quartet and Guitar Orchestra. Steve was instrumental in getting me over to the USA and also provided some very fine home-brewed beer.
So it was a pleasure to have him come over to the shed and also talk about his latest projects over a pint, after a rather distressing encounter with a less than sympathetic bus driver who refused to let his luggage off (it was destined for the wrong stop only half a mile away!).

Stephen has performed as soloist on notable concert series including the International Guitar Institute, Tennessee State University, Valdosta State University, and University of Nevada, Las Vegas. Following a concert at Carnegie Hall in 2010, the New York Times noted Stephen’s “unfazed” performance in a challenging program of 20th and 21st century works with the Grawemeyer Players. As recipient of the prestigious Theodore Presser Award, he recorded the complete guitar chamber works by Franz Schubert, which are available internationally in new critical editions through Chanterelle Verlag.

He enjoys a vibrant teaching career as Assistant Professor of Guitar at the University of Louisville, directing classical guitar studies and teaching music theory courses. A strong proponent for public music education, Stephen is Director of the University of Louisville’s Community Music Program where he fosters the development of diverse educational programs in music, instituting unique learning opportunities for music enthusiasts from all areas of society.

In addition to his performing and teaching engagements, Stephen is the Director of the University of Louisville Guitar Festival and Competition. Alongside this role, Stephen is President of the Louisville Guitar Society, which hosts a concert series and advocates for guitar education through outreach programs and civic initiatives. From 2007-10 Stephen worked for the Guitar Foundation of America as Development Director and Convention Manager.

Here he is playing a bit of Ponce and an extract of “Illusions” by Xi Fu Hang.

“The Leaves be Green” Interview with Timothy Bowers

Posted on by

After taking a break from the blog, there is now lots of new material.

I would like to start with this interview with the composer of a favourite piece with guitar quartets-
“The Leaves be Green”.

Bowers
The composer, Timothy Bowers, is a rather shadowy figure, but I managed to find him as he and I were the only ones raiding the drinks table at a reception for the Vida Quartet’s concert (featuring the ‘Full English’ on their eponymously titled CD, The Leaves Be Green) at King’s Place last year.


Timothy Bowers is Head of Undergraduate programmes at the Royal Academy of Music.
He is a versatile composer whose large output (approaching 100 pieces) includes works written for a wide range of instruments as soloists, including the series of six works commissioned by the Royal Academy of Music Brass department and published by Queen’s Temple Publications.
I was surprised to learn that he has written many guitar pieces, most of which are in manuscript, but some are available from Spartan Press.

Clara Ross, Mabel Downing and ladies’ guitar and mandolin bands in late Victorian Britain

Posted on by


The first guitar and mandolin bands were founded in Italy in the early 1880s. The fashion soon spread to Britain, initially amongst the aristocracy. Victorian social morals did not permit ‘respectable’ British women to play conventional orchestral music in public, but approved of exclusively female guitar and mandolin bands performing for charitable purposes. In 1886, Lady Mary Hervey and Miss Augusta Hervey formed the first British ladies’ band, which for more than two decades gave regular performances of serious classical music in London’s major concert venues, and was conducted by Europe’s leading mandolin virtuosos: Ferdinando de Cristofaro, Leopoldo Francia, Enrico Marucelli and Edouardo Mezzacapo.

During the 1890s, hundreds of similar ladies’ bands were formed across Britain, mostly by middle-class women. The quality of musicianship varied widely, but some were undoubtedly of a high musical standard. The Clifton ladies’ band, led by Mabel Downing, maintained a considerable reputation in the Bristol area, while Clara Ross’s band was highly regarded by fashionable London society. Clara composed most of her band’s music, and became one of Britain’s most popular composers for mandolin. She subsequently emigrated to the USA where, as Clara Ross-Ricci, she became a noted singing teacher and composer for women’s voices. By the late 1890s, as British society was becoming more liberal, more mixed-gender ensembles appeared, although most bands were still overwhelmingly female. The largest was the Polytechnic Mandoline and Guitar Band, founded in London in 1891, which regularly gave concerts with as many as 200 performers and continued performing into the 1930s.

Here is the link to this fascinating article by Paul Sparks – a curious chapter in the history of plucked instrument ensemble, many of which are still around today.
I am particularly interested to know of the works of Madame Sydney Pratten, whose pieces I have recorded, and of course,the guitar ensemble aspect. (Please see diary for schedule of the National Youth Guitar Ensemble!).
Many thanks to Nigel Warburton for drawing my attention to this article.