Guitar Friends Association “Dimitris Fampas” gladly announces the organization of the 1st International Guitar Competition Dimitris Fampas in Athens during 2016 to honor the memory of this great guitarist, composer and professor. This competition will be organized every three years and it is open to all guitarists from around the world who will be under 30 years old on the day of the finals on April 2016.

The competition will be in two Rounds. The Preliminary round will be an Online one and the Finals will take place in Athens on April as a part of the FAMPAS GUITAR SYMPOSIUM which will be co-organized with the ATHENS Municipality Culture, Sports and Youth Organization

World famous guitarists, professors, festivals’ artistic directors, journalists and music critics will be on the jury of the competition.

RULES

Eligible contestants must be under 30 years of age at the time of the Finals and must have access to the internet. In order to participate the contestants have to send by email (info@evafampas.gr) between November 10th 2015 andJanuary 10th 2016:

1) a copy/scan of their license, ID or passport , 2) a short curriculum vitae, 3) a payment receipt from the Bank (the account details will be provided shortly) for the participation fee which is 50€ and part of IT will go for the support of the City of Athens Homeless Shelter (KYADA) 4) the URL link of their Youtube video where they perform the required repertoire.

THE PRELIMINARY ONLINE ROUND - REPERTOIRE

• A piece by Dimitris Fampas*
• One movement from a Sonata / Sonatina by a contemporary composer (20th & 21st century)
• Two parts from a Suite by J. S. Bach

For the online round the contestants have to upload a video of themselves to YouTube performing the above repertoire. At the beginning of the recording, they must clearly announce a) their name, b) each piece they are going to perform and c) that it is for the DIMITRIS FAMPAS International Guitar Competition 2016. These details will be the video title, as well.

NOTICE: The video recording should be taken in one take, should not be edited at all as well as has to be of a high quality to allow the judges to make their decision. The contestant must be visible at all times to ensure that the video and performance is authentic. Any videos deemed to be dubbed or false will not be accepted

The organizers of the competition will forward the video – performing of all participants to the judges all over the world as well as they will promote these participations to a large audience through the web. The results of the Preliminary Round will be announced during the first days of February 2016. 5 or 6 players will be chosen to take part in the Finals.

THE FINALS - Repertoire

• A piece by Dimitris Fampas*
• A piece by a Greek composer (Dimitris Fampas also accepted here as well) **
• Free program up to 20’ maximum duration
  

AWARDS

The financial problems in Greece do not allow us to offer a large amount of money, so we will give symbolic money awards to the 1st, 2nd and 3rd winner as well as lots of gifts, concerts etc. Special prize for the 1st winner will be awarded: A PERFORMANCE with ATHENS MUNICIPALITY SYMPHONY ORCHESTRA . Full list of the prizes will be announced soon.

The website of the DIMITRIS FAMPAS GUITAR COMPETITION will be ready soon with all the details needed for the participants including the names of the judges for the Preliminary round.

For more information please contact Pr. Eva Fampas at info@evafampas.gr

* For DIMITRIS FAMPAS’ music we propose to the participants to choose from the following editions: ANTHOLOGY of DIMITRIS FAMPAS guitar music (edition MEL BAY), DIMITRIS FAMPAS’ music for guitar volume 2 and volume 3 (edition PAPAGRIGORIOU – NAKAS – www.panasmusic.gr), Danza Greca n. 1Karaguna (Editions RICORDI), Danse grecque: Sousta, Vision, Prelude Modern, Conte (editions Max Eschig), BOLERO (Editions COLUMBIA music CO)

** For Greek Composers’ music we propose the following: the GREEK GUITAR MUSIC anthology (Edition Les Productions D’oZ -http://www.productionsdoz.com/fr/greek-guitar-music ) and editions of Greek composers for guitar (like K.Tzortzinakis, K.Hatzopoulos, K.Grigoreas, N.Mamagakis and more) from the Editors PAPAGRIGORIOU - NAKAS (www.panasmusic.gr)

http://www.evafampas.gr/fampasen.html

NOW SOLD

Ramirez 1A concert guitar and case for sale.

The guitar was made in 1983, serial number 17083.

Red cedar top, Jacaranda sides and bottom with Ebony fingerboard.

650mm scale length. Very little used but wonderful to play.

Recommended retail price £7000, for quick sale £ 3250

Enquiries to John Cordingley on (01795) 431221 or email: johnhcordingley@gmail.com

I am selling a fine modern copy of a five course baroque guitar. The instrument was made for me by the Lichfield based guitar maker Roger Williams in 2008. I had plans of recording with the guitar and using it to begin concert programmes but other things took over so it remains unused and in mint condition.

It is based on the Stradivari baroque guitar in the Ashmolean Museum, Oxford but, to facilitate switching from a modern concert guitar in performance, it was made 10% bigger all round. For photographs and Roger William's detailed information about the guitar look under Performance information - Instruments' on this website.

The instrument comes with a standard modern guitar case. The price is £1500.

As well as the earlier footage of Raymond with John Mills there are 11 clips from the Sept 2009 Three Parts Guitar concert in Buxton,

Isis Duo (Raymond Burley and Keith Fairbairn) playing Romanian Dances by Bela Bartok arr. Burley, recorded in St.Helen's Church, Stickford, Lincs. February 2009.

and 8 clips of Raymond with Arne Brattland at a weekend guitar workshop and concert at Urchfont Manor on 21st March 2009

Thanks to Harold Houldershaw and Bob Wilson for their hard work making this possible.

A selection of the clips can also be found on Guitar Tube www.guitar-tube.com

Future Talent Concert 2nd July

Raymond Burley will lead and conduct a group of 12 guitarists in a concert in aid of the Duchess of Kent's charity Future Talent.

Players taking part are: Arne Brattland, Richard Butters, Stephen Christmas, Roger Green, Debbie Haeck, Mike Hinchliffe, Gary Jordan, Shaun Kennedy, Orsolya Pataki, David Pedder, Andrew Stanton..

The concert, in the presence of The Duchess of Kent, starting at 7.30pm, will take place in the High Street Methodist Church, Witney.

Tickets £10, concessions £6

Phone 01993 700 332

Sept 2010

It is now confirmed that Three Parts Guitar has become 4 Parts Guitar with the addition of the superb steel string guitarist Clive Carroll.

The tour started at the Playhouse Theatre, Weston Super Mare on 10th Sept, and is reviewed below by Darren Thompson @ GigJunkie and Bob Wilson. More tour dates are being added all the time - please check the Diary for details as there are a lot of dates coming up in March 2011.

4 Parts Guitar review by Darren Thompson at GigJunkie

The Weston-Super-Mare Playhouse is certainly not Rock’n’Roll, but I was intrigued to see ‘4 Parts Guitar’ nonetheless as I’m a great fan of the instrument in general, and this was alleged to be a master class.

The stage was set very simply for the four musicians on the bill; chairs, mics, and a soft drape hung loosely behind with a soft coloured pattern projected onto it. This understated setup proved a humble backdrop for the evening’s music. The first half of the evening saw four individual and starkly differing performances, rather than the single ensemble I was initially expecting.

First to the stage was Gordon Giltrap, who carried with him both his acoustic guitar and a relaxed aura, softening the audience with self-deprecating quips and a friendly manner. He opened proceedings playing a handful of intensely intricate pieces including his famous, ‘Heartsong’, which was widely known as the BBC’s ‘Holiday Programme’ title piece. I did note that references to his past were at times unusually wistful for someone both brilliantly able and active, but they were not overbearing.

Next to take the stage was classical guitarist Raymond Burley, who’s somewhat formal presence was expertly relieved with a witty comment or two. His enchanting playing sounded as if it had been lifted straight from a bygone century, conjuring both imagery and the atmosphere of a previous era. Much like Giltrap before him, every note was superbly executed, and often intensely complex.

The penultimate guitarist of the shows first half was John Etheridge, who eschewed the emerging pattern of acoustics in favour of his electric guitar. Technically superb, Etheridges’s choices of jazzy and South African composed pieces offered variety, if perhaps being a little too novel for the audience to lock fully into the groove with him.

Finally taking the musical helm was the newest member of ‘4 Parts Guitar’, “young man” Clive Carroll. Dressed unassumingly, Clive made a few last minute tweaks before relaxing into his groove, absolutely captivating the audience to their peak. Playing with a ‘Rodrigo y Gabriela’ style in which every surface of the guitar was utilised and crafted in a host of rarely seen techniques, he played the equivalent of a small band’s output through the one instrument. Tapping the base of the guitar boomed rolling bass, and numerous taps, neck bends and finger tricks created not just music but staggering ambience. He proved impressive, unique and mesmerising – a notable feat after the three previous players high calibre benchmarks. Finishing with his amusingly introduced song ‘Oregon’, he drew every last breath from the crowd as he tied them up in a musical web of percussion-driven magic.

The interlude allowed for reflection on the evening so far – technically incredible guitar playing, surprising variety, if perhaps occasionally a little niche in its content.

The second half of the show drew all four guitarists to the stage at once, each leading proceedings with a brief introduction to their own chosen pieces, before they shared tracks together. Some pieces involved all four members, others were duets, but most importantly all were superb. Their interplay was an assault on the senses – in terms of audio it was difficult to stay on track as rhythms, leads and licks interwove through the air like the smooth threads of audio silk. Visually it was equally challenging as there was so much to see all at once!

A mix of styles returned for the latter part also; a particular favourite of mine was a brief dabble into the Blues which instantly provided the rhythmical fix I had at times craved earlier in the evening. Whilst I could appreciate the technicality and intricacy of the previous pieces, there is little that can connect so instinctively to my musicality than the Blues – this was a welcome addition that had my feet tapping within a second.

Peppered throughout with jokes, banter and fun interactions, the evening ended with an easy informality between the performers and the audience. Combined with the unmistakable talents of ‘4 Parts Guitar’, the humble and appeasing nature with which they presented themselves only endeared them further. Whilst not a gig I recommend watching if you crave mosh pits and Marshall amps, the evening was relaxed, enjoyable and at times hugely absorbing, and for a fan of the guitar, a master class indeed.

8 out of 10 - Darren Paul Thompson

4 Parts Guitar review by Bob Wilson

Well, the first of the ‘4 Parts Guitar’ didn’t disappoint. What a pleasure it was to see four brilliant guitarists having such a great time as they played, entertained and amazed us. Gordon, Ray and John were joined by Clive who brought his own unique style to the evening.

The first half consisted of each guitarist playing a few solo pieces in their own style. Gordon started the proceedings with favourites Shining Morn and Heartsong followed by Ray who played three beautiful classical pieces (one Brazilian I think) but by this time I was too into the music to even notice the titles. John then played Stormy Weather and a South African piece on electric guitar (the latter giving the effect of steel drums on guitar – amazing!). Clive was the final guitarist, starting with a Celtic guitar medley and then a piece on a loop station using the percussive guitar technique.

The second half started with all four musicians playing a new version of ‘The Dodo’s Dream’ arranged by Ray. What a great job he did of it too! This is a particular favourite of mine and to arrange for 4 guitarists must have caused Ray a few headaches. He left a couple of places for improvisation which means that even with the four of them playing this piece, it will still evolve and change on each playing. Nice one Ray!

Each guitarist then played pieces of their own with one other guitarist supporting them. Sometimes all four played a Gordon piece and this gave a whole new dimension to Gordon’s composing as some of his pieces lend themselves to improvisation. What guitarist doesn’t enjoy improvising? This showed the skill of these guitarists – all of them able to just fit in with each other, sometimes sight reading, sometimes not, but always with a passion and love that shone through. Several acoustic styles were covered in some way during the night and the friendship of these four was apparent as I don’t think any of them stopped smiling all evening. From the beginning to the encore a very enjoyable first concert by ‘Four Parts Guitar’.  Very hard to pick out a special part of the evening (apart from ‘The Dodo’s Dream’), but as the new boy, I do think the extra dimension of Clive’s playing added to this unique quartet and his ‘Renaissance Piece’ played with Ray was beautiful.

Bob Wilson

2010 Philip Woodfield
Grand Concert Guitar
with lattice bracing
(named 'Kiri').

Spruce top with Honduras rosewood back and sides.

The instrument is in mint condition.

Price: £3500.

Contact me by phone or email. It would need to be collected from Oxfordshire.

Videos uploaded so far are:
Raymond Burley & John Mills - 1998

Carulli: Serenade in A op.96

Poulenc: Bransle de Bourgogne
Poulenc: Pavane
Poulenc: Petite Marche Militaire
Poulenc: Complainte
Poulenc: Bransle de Champagne
Poulenc: Sicilienne
Poulenc: Carillon

Telemann: Partie Polonoise

Brouwer: Tranquillo
Brouwer: Allegro vivace
Brouwer: Vivacissimo muy ritmico
Brouwer: Sonoro
Brouwer: Andante tranquillo

Granados: Intermezzo

Mertz: Vespergang
Mertz: Mazurka
Mertz: Am Grabe der Geliebten
Mertz Unruhe

Ginastera: Three Dances from Estancia

Machado: Imagens do Nordeste

The ABRSM, as it's generally known, is an examination board based on the pedigree of four Royal Schools of Music:

The Royal Academy of Music,
The Royal College of Music,
The Royal Northern College of Music,
The Royal Scottish Academy of Music and Drama.

READING AT SIGHT

A Practical Guide for Guitarists

Review taken from www.americanmusicpreservation.com

Rating: ****

This has been such an amazing year for older soundtrack releases that this little release from BSX might have completely slipped under the radar.

Guitarist Gregg Nestor has arranged a variety of works for his instrument that have expanded the repertoire admirably. And he is responsible for the commissioning of the sonata which Rozsa wrote for the instrument in 1986.

The first half of the disc features come from the composer's more classical composition drawer. It begins with a set of delightful miniatures which Rozsa composed for his children in 1946. Kaleidoscope, Op. 19c is a six-movement work of little pieces for two guitars (performed with Raymond Burley) that include an opening march, a delightful musette, and a beautiful lullaby in addition to a couple of ethnic music pieces ("Zingara" and "Chinese Carillon") and a fun concluding burlesque. There is a lot of delightful music in this suite that features a more modal sounding harmonic palette that resembles a gentler Bartok-ian sensibility. The Sonata for Guitar, Op. 42 is a classically-conceived work in every sense of the word from its sonata form construction and an interior canzon movement, to the exciting final movement. There are some melodic qualities to the work that recall those of the composer's epic period scores but here cast in a far more intimate light. Written in 1986, the work feels more like a piece of the 1950s at times, but it has a freshness and intricate design that warrants its establishment in the repertoire. It is one of the many delightful discoveries on the disc.

Admittedly, the thought of such a largely-conceived work as EL CID's score re-imagined for guitar seemed a rather hefty goal. And yet, the performance and arrangement here of the "Overture" is one that is both extremely musical and intricately engaging as some of the finer details of Rozsa's harmony and counterpoint can so clearly be delineated on this two-guitar setting (Nestor is joined here by William Kenengiser). A soulful oboe (performed by Francisco Castillo), and later violin (performed by Carole Kleister-Castillo), is added to the texture for the following "Love Theme" making for a nice contrast to the preceding material as well. All this music lies well for the guitar and this is clear throughout these first two adaptations which have an appropriately Castillian feel to them made more audible in this setting. In many ways, the performances practically transport you back to the period of the story.

Other selections on the disc include the beautiful love theme from THAT HAMILTON WOMAN, and a couple of suites from scores for LYDIA and CRISIS, the latter score from 1950 originally composed mostly for two guitars. The central portion of the disc features a variety of source cues which Rozsa composed to fit specific period scenes. There sounds tend to waver between a Renaissance style and a more Baroque one (i.e. the delightful "Bouree" from MOONFLEET) depending on the film. But they all sound like long lost guitar miniature gems. Two of these, music from YOUNG BESS and MADAME BOVARY, are arranged for two guitars and are beautifully balanced here between the two instruments. Nestor's solo tracks are all beautifully realized with "The Tokyo Tea Room Waltz" from BLOOD ON THE SUN a particularly engaging, if brief, musical work. The theme from GREEN FIRE sounds like something from every guitarist's Spanish guitar playbook in this light, but with Rozsa's unique and engaging melodic stamp it becomes something much more.

Each guitar voice is assigned a different side of the sound spectrum to identify the performer, but it actually recreates a more realistic concert sound that is warm and intimate throughout. The instruments themselves have beautiful tone quality and the performances are quite clean and crisp (without the too-close miked finger noises that often can distract those unfamiliar with classical guitar recordings).

This is an overall wonderful release that features an intelligently written and engaging overview of the selections included in this fine release. For a variety of highlighted clips from the release, you can visit the label's website: here

This is a great disc of music that will have great appeal to guitar music fans as well as those looking for a way to introduce the music of this great composer to your more classically-minded friends.

Steven A. Kennedy , 12 December 2008

A few additional comments...

I completely agree with Steve's opinion of this wonderful CD of Gregg Nestor's flavorful arrangements of Miklos Rozsa's film music.

We need more recordings like this one to demonstratethat film music need not only be performed by orchestras and pop groups. This ensemble of musicians play their respects to one of Hollywood's best composers. And the CD notes are by Herrmann's biographer, Steven C. Smith.

This is a first rate CD, beautifully recorded, and also has a handsomely designed booklet.

It is highly recommended for all Rozsaphiles, or any listener who appreciates the art of film music from Hollywood's Golden Age.

Roger Hall, FMR Editor

Also Raymond Burley and Chris Britton (flute) will be performing as follows:

Sunday, September 14th, 2008 2.30pm
Witney Music Festival
Cokethorpe School
Witney,
Oxfordshire OX29 7PU

phone: (01865) 358293

Witold Lutoslawski; (January 25, 1913 – February 7, 1994)
was one of the major European composers of the 20th century, and one of the pre-eminent Polish musicians during his last three decades. During his lifetime, Lutoslawski earned many international awards and prizes, including the Order of the White Eagle, Poland's highest honour.

During his youth, Lutoslawski studied piano and composition in Warsaw. His early works were influenced by Polish folk music. His style demonstrates a wide range of rich atmospheric textures. He began to develop his own characteristic composition techniques in the late 1950s. His music from this period onwards incorporates his own methods of building harmonies from small groups of musical intervals. It also uses aleatory processes, in which the rhythmic coordination of parts is subject to an element of chance. His compositions (of which he was a notable conductor) include four symphonies, a Concerto for Orchestra, and several instrumental concertos and orchestral song cycles.

NEW DVD RELEASE BY DOUBLE VISION - 'IN VISION'

Click either arrow twice to play the video ( please remember this is a low resolution sample and not representative of the actual DVD quality )

For more details and to place an order please go to:  

Double Vision DVD Orders

Nothing is more beautiful than the sound of the guitar…. save perhaps two"
F.Chopin

David Gow studied at the Royal College of Music with Gordon Jacob and Frank Merrick; he was awarded the Cobbett Prize and Alfred Clements Prize for his first full-length chamber work, Clarinet Quintet. He obtained a BMus and MMus as an external student of Durham University. After leaving college he taught in the Extra Mural Departments of both Oxford and London; he obtained a full-time teaching position in London in 1962. Eight years later he moved to Wiltshire to take up an appointment as Lecturer in Music at Swindon College where he remained until his retirement in 1986.

James Patten was born in Sheffield in 1936. Following Army service he studied with Richard Arnell and won the Royal Philharmonic Society Composition Prize with a piano concerto. Shortly after he gained a German Academic Exchange Scholarship to study in Berlin with Boris Blacher and Josef Rufer. Later he became Professor of Composition at Trinity College of Music. He now lives in Somerset.

Richard Leigh Harris is one of the UK's most distinguished pianists and harpsichordists. He is an experienced performer and has worked in a wide variety of musical settings. In addition to solo performances he has collaborated with flamenco and classical guitarists (including Raymond Burley), recorder players and a number of highly respected jazz musicians. Richard is also in great demand as a teacher and is currently the visiting composition tutor at Birmingham Conservatoire.

'Some of the most imaginative Bach playing I've ever heard on the guitar.'
John Duarte

2nd March, 2019 from 10 am - 9 pm at Foxton Village Hall, Foxton near Cambridge (Hardman Road, CB22 6RN)

This all day workshop features Raymond Burley and Valerie Hartzell, as the Astraea Guitar Duo, with guitar orchestra rehearsals and small ensemble masterclasses. There is only room for 8 groups to perform in the master classes; each group will receive 30 minutes (all types of groups welcome - duos, trios, quartets, etc).

The day starts with registration before our first event of the day (provided by Raymond and Valérie). Participants are asked to bring lunch (there will be tea, coffee with biscuits available)

In the evening, small ensembles from the master classes, Astraea Guitar Duo, and the guitar orchestra will perform in an evening concert which will be open to the public.

Cost: £35

Masterclass: £10

Tickets to concert: £5 at 7:30 pm.

For further information please contact Valérie at valeriehartzell@gmail.com or Raymond at www.raymondburley.com

If you would like to stay overnight, feel free to visit a list of hotels in the area of Foxton: TRAVEL INFORMATION.

I’d like to introduce you to a series of guitar publications, Mosaic Editions. It will feature arrangements for guitar ensemble made by Raymond Burley.

Each edition comprises a full score and parts. The pieces are arranged for standard instruments only.

Payment can be made using PayPal. Each edition has its own page in the Published Music Section where you can see a sample of the music before you purchase and details on how to order.

001: ALBÉNIZ: Capricho Catalán (3 Guitars) £10

002: RAVEL: Pavane pour une Infante Défunte (4 Guitars) £10

003: RAVEL: Pavane pour une Infante Défunte (6 Guitars) £15

004: GRANADOS: Aparicion (2 Guitars) £10

005: SCARLATTI: Sonata K.87 (2 guitars) £10

006: SCARLATTI: Sonata K.87 (4 guitars) £12

007: TELEMANN: Partie Polonoise (2 Guitars) £15

008: GRIEG: Two Pieces - Bondens Sang and Tak (4 Guitars) £10

009: HANDEL: Concerto Grosso op.6, no.1 (8 Guitars) £20

Update 22nd Nov

I’m very pleased to announce that the Santos Martinez ‘Raymond Burley Signature Guitar’ recently won the accolade ‘Best Classical Guitar of the Year’. The awards were hosted by MIA (Music Industries Association) in partnership with NAMM (the National Association of Music Merchandise) and sponsored by the British classical music radio station Classic FM.

A celebration dinner was held at the Emirates Stadium in London on Thursday November 22nd; unfortunately I was unable to be there as I had a concert with 4 Parts Guitar in Aldershot that night.

I’m very grateful to Dennis Drumm and staff at JHS for their hard work and dedication in bringing such a fine instrument onto the market and also to my good pal and playing colleague Gordon Giltrap for initially bringing the idea of cloning the Martin Fleeson guitar (the instrument on which the signature guitar is based) to the attention of JHS. The ‘Raymond Burley Signature Guitar’ deserves success and it’s good to have my faith in the instrument confirmed and recognised by the music industry as a whole.

2012 Dates

March: 23rd - 25th

October 26-28th

Unfortunately the October course has been cancelled. Wiltshire County Council has made the decision to sell the house and land; it will cease functioning as a college at the beginning of September. Any students having already paid a deposit for the October guitar course will be refunded.

Friday 25th September 2009

If people could go to Three Parts Guitar concerts on the NHS, doctors would never need to prescribe anti depression drugs again.

Those of us in the almost capacity audience at the Roses, Tewkesbury were treated to an uplifting and joyful celebration of wonderful guitar music played by three seasoned virtuosi.

Gordon Giltrap opened the show with a clutch of tunes from his vast back catalogue, played in the inimitable style he once described himself as "fast strumming with twiddly bits in between".

GG then made way for Raymond Burley, a classical player from the top drawer who delivered pieces by Bach and Villa-Lobos with impeccable precision.

GG and RB have been performing together on an occasional basis for the past seven years and demonstrated how their different techniques have been moulded to complement one another.

When playing solo, GG attacks a tune with Pete Townsend-like ferocity. But when RB joins him, draping delicate melodic lines over the robust foundation laid by GG's fret work, the result is softened; something like rock meets Baroque.

After the interval John Etheridge took the stage for a solo set that illustrated why he is widely regarded as one of the foremost all-round players.
His music career includes playing lead guitar with the freeform jazz-rock band Soft Machine, a spell with Stephane Grappelli performing the parts Django Reinhardt used to play, plus session work with everyone from Barney Kessel to Sting.

JE's solo set provided a taster of these eclectic accomplishments, a high spot of the evening being his finger style rendition of the jazz standard Stormy Weather played on a Telecaster fitted with the bottom two strings from a bass guitar.

The three players came together for the final section of the show, by which time the audience was so enthusiastic Raymond Burley received a round of applause for blowing his nose.

Plainly the guys hadn't spent too much rehearsal time on their trio set, which simply meant it was even more fresh and inventive than it might otherwise have been.

The audience enjoyed the banter between the three, the one-liners and Mr Giltrap's splendid anecdotes almost as much as the music.

This was a hugely enjoyable evening of the kind for which the Roses provides the perfect venue – big enough to create atmosphere, small enough to feel at one with the performers.

If you get the chance to see these guys, do it. You'll still be smiling next day.

Robin Brooks

'Three Parts Guitar' with Rick Wakeman.

'Three Parts Guitar' - A Review

Surely this must be the concert to end all concerts I thought as I read the news about 'Three Parts Guitar'. You see, as someone who's loved classical guitar since teenage years, enjoyed Gordon Giltrap's music since the mid 70s and whose listening of choice these days is blues and jazz, for me this seemed to have it all. It didn't disappoint.

First up was the ever-affable Mr Giltrap whose genuine man-next-door approach has endeared him to many, even before they've heard a note. But with the first few notes you remember that this isn't your mate in the pub – this is one of the greatest masters of the guitar and the composer of many a rattling good tune. Four Giltrap pieces old and new opened the event, including one currently untitled and commissioned to celebrate Sir Cliff Richard's impending birthday. It seemed to me that the obvious title was 'Congratulations', but apparently the honour of naming it goes to the winner of a competition organised by the Birmingham Cliff Richard Fanclub. When Gordon reached for the electric guitar, knowing looks and smiles were exchanged in the audience. We were right; the evolution of 'The Dodo's Dream' continues, making the piece even more beautiful. Those around me who haven't seen 'Dodo' performed live before were amazed at Gordon's skill, mastery of the instrument and sheer musicianship.

Raymond Burley had the unenviable task of following 'The Dodo', but did the job superbly. He introduced us to pieces by various composers from different countries and no-one would disagree with Gordon's assessment of Ray as "probably the finest classical guitarist in the country". Obviously, not someone as at ease with words as Gordon, Ray let the music speak for itself. His assessment of J S Bach as "The Guv'nor" endeared him to me and his interpretations of one of "The Guv'nor's" works and of other pieces was sublime.

Until this concert John Etheridge was to me a known name, but someone whose music I'd never heard. After Saturday, that's going to change! The range of styles and techniques was huge, with John demonstrating how much at one he is with the guitar. This was music demonstrating warmth, fun, melancholy, power and vibrancy. A spell-binding set which left my emotions a-jangle.

After the interval Gordon was back for the briefest of warm introductions to Rick Wakeman. Music gave way to comedy for a few minutes as Rick found a microphone that fought back and entertained us with a couple of anecdotes from a life of touring. But this was a man who was in the right company. The music and playing was as spell-binding as that which we'd experienced in the first half of the concert, and all interspersed with Mr Wakeman's wry observations. What a character!

The anticipated climax came as all three guitarists returned to the stage for various combinations of duets and trios. Everything was there from their solo sessions, but this time with the added interaction with other players. These were clearly people who respect and trust each other's musicianship and simply enjoy playing with fellow craftsmen. Wonderful renditions of pieces such as 'A Christmas Carol' and 'A Dublin Day' were rounded off by the reappearance of Rick Wakeman for 'Maddy Goes West'. For me this was one of the high spots of the evening as each musician featured in turn. Unsurprisingly, no-one was selfish and the whole really was greater than the sum of the parts.

So how can you sum up a concert as unique and special as this? I'll leave that to a teenage friend of mine who's no slouch at the guitar and keyboard himself. His assessment? "Awesome!" And that says it all.

Mike Stranks, Oxford

A wonderful arena in which to see 4 consummate musicians (and friends) demonstrate their art. The acoustics were marvellous and shows how well the renovation of the Town Hall has been undertaken. Even with the ensemble pieces at the end where 4 different sounds were competing on stage, I could hear each of the four parts clearly.

The programme for the evening rightly kept to a simple plan of 4 solo sections, the audience attention held tightly in each by the pieces selected, leading to a rotation of guitar duets where the individual playing styles and instrument tones blended wonderfully well, and finally a piano and guitar ensemble to round off the evening. "Maddy" was indeed a revelation in its extended form, allowing Gordon to hold it all together with the theme and then giving time to each of Ray, John and Rick to highlight while the others strummed along. A real example of how Gordon's "simple tunes" as he calls them can be adapted to the occasion.

Yes it was over all too soon from the audience's perception (if not the performers' who would be well justified in wanting a breather) but doesn't this just underline what a hugely enjoyable and enthralling performance it was? Well done Gordon, Ray, John and Rick. I wouldn't have missed this for the world.

Colin G

2010 Dates

Friday 2nd - Monday 5th April