Carlos Bedoya In Oberlin

Carlos Bedoya, the new Professor of Guitar at the University of Louisville, visited us in Oberlin for a concert and master class. Carlos has been making a name for himself on the concert and competition stages around the world in recent years, and, when he was selected to take over the position previously held by Stephen Mattingly in Kentucky (Mattingly had moved to Florida State University), the students and I resolved to bring him to Oberlin.

One of Oberlin’s electronic banners alerting passers-by of Carlos’ appearance

Kulas Hall was buzzing with a large audience. They were treated to a concert with an impressive mixture of the familiar and the new. Bedoya began with an old favorite from the Albeniz canon, Torre Bermeja.

Carlos Bedoya, on stage in Kulas Recital Hall

He followed with Bach’s complete second violin Sonata, BWV 1003. This was played with subtlety and clarity. (The complete program is reproduced at the end of the post).

After the brief Aranci in fiore of Tedesco, Bedoya closed the first half with the Llobet’s famous Variations on a Theme of Sor. The second half opened with a terrific new piece, written for him by Colombian composer Fabio Salazar Orozco. This was one of my favorite moments of the program.

Carlos regales the audience

Next were the Divertimento from Sergio Assad’s Aquarelle, followed by Barrios’ Choro do saudade. Both were beautifully handled. Garoto’s hit Lamentos do morro closed the program. I’ve never heard it played with such dead-on rhythmic security and intensity. We could hear him gently singing the melody along with his playing. He was clearly enjoying himself. The audience loved it.

Carlos takes a bow

The next day, Bedoya met with my students in a master class. The first to play was Solis Dornan. Dornan played the Scherzo from Regondi’s Introduction and Caprice.

Solis tries Bedoya’s “accordion” nail filing method.

Carlos discussing right hand finger preparation

Next was Caden Basile, with a performance of the Allegro from the Prelude, Fugue and Allegro, BWV 998.

Working on ways to reduce tension

Working on left thumb placement

Grigor Ylli played next. He performed the Hungarian Fantasy of Mertz.

Working on making longer phrases

After Grigor, Aseem Misra played a section from Giuliani’s La Rossinina Op 119.

Working on matching melodic tone and balance

Our final performer of the day was Sam Schollenberger. Sam played Bach’s (keyboard) Toccata BWV 830.

Working on maintaining uniform articulation and phrasing in the fugal entries

Carlos gave an excellent master class with lots of energetic and enthusiastic words of advice, both on matters of technique and on interpretation and style. He was great company. We look forward to seeing you again, Carlos!

L-R: Sam Schollenberger, Caden Basile, Carlos Bedoya, Solis Dornan, Aseem Misra and Grigor Ylli

Stephen Aron and Carlos Bedoya