René Izquierdo Returns to Oberlin
The great Cuban guitarist, René Izquierdo, made his fourth visit to campus this week for a solo recital and master class with members of the guitar studio. It was wonderful visiting, as always, and he delivered a beautiful and memorable concert.
René, spotted on one of our banners
He programmed an all-Cuban and Spanish music evening for us, and it was enthusiastically received! (Full program at the end of the post).
René Izquierdo on stage in Kulas Recital Hall
He started with three less-commonly played works by Cuban composers, Rojas, Martin and Garay, then landed on the more well-known La Comparsa by Lecuono, in Barrueco’s arrangement. Izquierdo’s sympathy for the music of his native Cuba is always evident in his playing. This music sang elegantly and filled the room with Caribbean warmth.
A group of delightful shorter works by Cervantes followed, and led us to the inevitable work of Leo Brouwer, this time dipping deep into the oeuvre for the 1964 classic, Elogio de la Danza, played with color and joy.
His first half concluded with Martin’s jazzy and playful Son del Barrio.
René tells the audience about the music
His second half was dedicated to Spanish repertoire, opening with the honorary Spaniard, Domenico Scarlatti, and his lovely Sonata K 208. This was followed by two perennial favorites, Torroba’s Madroños and Rodrigo’s En los Trigales. These were played expertly and with deep sympathy. Three works of R. Sainz de la Maza followed and led to the concert’s finale, Tarrega’s Gran Jota. René played it brilliantly and with obvious pleasure. The audience erupted.
Izquierdo gets a standing ovation
For an encore, he shared with us the lovely Brouwer arrangement of Afro Cuban Lullaby.
The next day, we had a master class, featuring performances by members of the studio. Solis Dornan played first, Bach’s Prelude BWV 1006a. He got helpful tips on posture and positioning.
Solis Dornan plays for René Izquierdo
Next up was Grigor Ylli, with Albeniz’ Sevilla. They considered the first section in detail.
Grigor Ylli plays for René
Sara Baunoch played next, Sor’s Variations on Malbroug. Sitting position and tone featured prominently in this lesson.
René works with Sara Baunoch
Aleksandr Lapshin followed, with Giuliani’s first Rossiniana. Interpretation and style in the introduction were the focus of the lesson.
René makes a point for Aleksandr Lapshin
Next, Sam Schollenberger played Bach’s Largo, BWV 1005. They worked productively on shaping the lines.
Sam Schollenberger with René
Finally, Caden Basile concluded our class, with Ruiz-Pipo’s Cancion y Danza No. 1. René had helpful ideas on fingering and interpretation.
Caden Basile plays for René
It was one of the most helpful and inspiring master classes in recent memory. And, jazzed by the concert as well, the students were clearly motivated to play their guitars as René wound down his visit. Thanks, René, for another terrific residency! We look forward to having you back again!!
Sara Baunoch, Grigor Ylli, Caden Basile, René Izquierdo, Alekasndr Lapshin, Solis Dornan and Sam Schollenberger
