Kevin R. Gallagher is recognized as one of America's leading guitarists. He began playing rock guitar in his formative years but his musical appetite quickly led him to study jazz and ultimately, classical guitar. His talent for the classical guitar won him numerous scholarships and awards while studying with Benjamin Verdery at the Wisconsin Conservatory of Music, and at the Julliard School under the tutelage of Grammy-winning guitarist Sharon Isbin. He was the first-prize winner in 1993 Guitar Foundation of America, the 1994 ASTA, and the 1993 Artists International Competitions. He also has the distinct honor of being the only American classical guitarist ever to win first prize in the prestigious Francisco Tárrega Guitar Competition in Spain (1997).
After his studies at Julliard, Mr. Gallagher gave many classical guitar performances and masterclasses throughout the world including countries such as Spain, Germany, Sweden, Greece, Turkey, Brazil, England, and the United States. Since 1995 he has been the classical guitar instructor at Lawrence University in Appleton, Wisconsin. Kevin has recorded four classical guitar albums, with this album being hailed as "one of the very best NAXOS guitar recordings" by Classical Guitar Magazine in May of 2000.
Your Naxos album is scheduled for release in November 1999. What do you perform on it?
I like to do albums that are either a certain period of music or a certain composer's work. For this album the "theme" is early music written for plucked string instruments other than the guitar. I play vihuela music (Narvaez, da Milano), baroque guitar music (Guareau, de Murcia,), Renaissance Lute music (Dowland), and Baroque Lute Music (Bach and Weiss).
Did you perform all of this on a standard modern guitar?
Yes, although to get the lightness of sound I wanted, I used a capo to keep the keys the same as they were in the originals- or sometimes higher than the originals. I also have a few unusual tunings on there to make some of the music flow better.
Did you write out your ornaments or can you improvise them?
It depends. I don't like the sound of ornaments that are obviously worked out. What I do is record a lot of different improvised ornamental ideas, then I choose a few that I think are tasteful, and then I work them in to the piece. When I'm performing, I'll then have a few different options. If I feel nervous or the performance is not going too well, I'll do easier ornaments. If the night is going smoothly- I'll throw in the harder ones.
What was it like to have Norbert and Bonnie Kraft as producers for this album?
At first I was a little intimidated. They are both fantastic musicians and have helped produce albums for some of the finest guitarists in the world. I felt better once we started. They made me feel comfortable and soon I was able to only think about my playing. Also, the church we recorded in had a beautiful sound. That also helped me relax and enjoy it.
Is the Baroque period your favorite period of music?
My ear is more attuned to the Baroque than some other styles. I hear the interpretations quickly. This is probably because it's based on dance forms and I have been playing dance music since I was a teenager. I enjoy the clarity, the ornaments, and the affects. It's also very spiritual music. When I'm playing a Bach fugue, and it's going well, it's like communion with God.
Check out the artist's website:
http://www.guitar69.com/Frameset2.htmTrack List:
1. Conde Claros
2. Cancion del Emperador
3. The Frog Galliard
4. Lachramie Pavan
5. Tarleton's Resurrection
6. Ricercare
7. La Compagna
8. Canarios
9. Marionas
10. Folias Gallegas
11. Payssanos
12. Prelude
13. Fugue
14. Allegro
15. Prelude
16. Courante
17. Alternatum
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