The Academy of St Martin in the Fields was founded in 1958 by Sir Neville Marriner; it is a chamber orchestra with a long history of working with guitarists. On this occasion there was no conductor and the lead violinist, Kenneth Sillito, took on the role of leading/conducting the orchestra of 17 instrumentalists. They began with the Holberg Suite Op.40  by Grieg. The sound they produced was rich and filled the Wigmore Hall. Their dynamics were carefully planned and the contrasts between piano and forte dynamics were very clear.

The Mexican guitarist Morgan Szymanski joined the Academy for the Guitar Concerto RV93 in D major by Vivaldi. Positioned in the centre of the ensemble and although he played without any amplification, I could still hear his guitar and the changes of timbres at the back of the hall, in this solidly good performance of the work.

The Academy of St Martin in the Fields performed the Bachianas Brasileiras No. 9 by Villa-Lobos. The work was completed in 1945 and exists in two versions: one for choir, singing without words, and in the version we heard here for chamber ensemble (no guitar, of course). The work builds very dramatically into what Villa-Lobos described as ‘the suggestion of a large organ’.

The Concerto for Guitar and String Orchestra by the Irish/German composer Alec Roth was written for Morgan Szymanski. The orchestration was very attractive; Alec Roth used the resources of the guitar and string ensemble very well to create attractive sound colours, such as his use of pizzicato strings against strummed chords on the guitar. There is an effective and beautiful tremolo section later. One could hear the pleasure of the composer in creating these sounds. The Concerto had a distinctly individual nature and did not sound like anyone else’s composition.

The Concerto starts with the guitar playing solo in harmonics, followed by an ettouffe ostinato passage, which acts as an introduction for the string orchestra. The ostinato on the guitar continues but with a building up of ideas and thus the music is immediately engaging and easy to follow. The catchy rhythm of the first movement, March, added to this accessibility. The Serenade second movement has a more relaxed and romantic character, with gentle and soothing harmony, ending dramatically with the strings using contemporary playing techniques, such as creating the sounds of noisy seagulls by squeaking up and down their fingerboards with their bows. The Nocturne third movement has two distinctive characters: the gentle lullaby contrasted with the more frightening fears that come upon us in the dark. The final movement called Fiesta is as lively as its title suggests and ends with a very positive feel.

The Academy of St Martin in the Fields and Morgan Szymanski have been touring with the Concerto for Guitar and String Orchestra by Alec Roth since October 2010. This was its London première.

Morgan Szymanski (Guitar) Sarabande Records – SARACD003

‘Machaca’ is an ensemble of guitar, violin, cello, accordion, percussion, bass, flute and cuatro and is the name of an international ensemble of high-class musicians put together by Mexican-born guitarist Morgan Szymanski in 2006. Los Ambulantes is the second album made under this group name although the personnel for this one differs from the first album with the exception of the cellist and the accordionist. Apart from a work by the Italian guitarist Simone Iannarelli and one from Welsh composer Stephen McNeff, the programme consists of music from South America.

As with their first release, the track listing features many well-known musical works presented in a new manner due to the addition of other instrumentation.  Hence the three celebrated solo guitar pieces by Venezuelan guitarist Antonio Lauro are heard with an up-tempo beat with the guitarist backed by cuatro and percussion and also Celso Machado’s wonderful Bolinhas de Queijo given a cool-jazz interpretation a la ‘MJQ’ style.

Of particular interest is the longest item on the programme, the title track Los Ambulantes here given its world premiere recording. This is a terrific piece written in a contemporary jazz mode and a work which uses the group to their full potential. It is a work of multiple musical layers and density travelling through a variety of moods and holds the attention for its full eleven minutes.

The disc is well recorded and performed with style from a seemingly very enthusiastic ensemble.

Steve Marsh, Classical Guitar Magazine April 2011.

Morgan Szymanski (Guitar) Sarabande Records – SARACD001

This is subtitled as ‘Chamber Music for Guitar’ and for this Morgan Szymanski is joined by an array of other musicians performing on harpsichord, violin, percussion, accordion and cuatro plus two female vocalists.

The programme falls roughly into two broadly defined camps, one, of works where the composer’s instrumental intentions are more or less followed (ie. the Piazzolla and Ponce compositions) and the second where the music has additional instrumentation added such as in the Lauro Vals Criollo (cuatro/percussion/lyrics) and Brouwer’s Danza Caracterísitica and Canción de Cuna(respectively, percussion and vocal/percussion).
Of special interest is the word-premiere recording of British composer Alec Roth’s four movement composition for guitar and strings where Morgan Szymanski joins forces with the Sacconi Quartet. The Quintet is a lyrical and intense piece with many and varied rhythms: a multiplicity of moods are covered from sombre and morbid ones through to euphoria and exhilaration and with several twists and turns along the way. Altogether this is an excellent new work for the repertoire and hopefully one which will make many appearances on the concert platform.

All the musicians involved in this interesting project give superb performances and the recorded sound is outstanding. The programme is wide-ranging and colourful, interleaving the known with the less well-known. The Roth piece alone makes this such an attractive purchase.

Steve Marsh – Classical Guitar Magazine, April 2011.

It would be so easy to think that a world-renowned ensemble, touring the same programme around the country, and one which, though absolutely charming, is perhaps not excessively stressful, might occasionally switch into automatic mode.

Not so the strings of St Martin in the Fields. From their body language and interaction, it was so obvious from the very first note, that each player was still really enjoying making music, and the resulting sound, enhanced by the glorious acoustic, was simply breathtaking throughout.

Yes they can command all the best players around, with such immense strengths as violist, Bob Smissen, and the rich fruity tone of cellist, Stephen Orton.

In director, Kenneth Sillito, they could simply find no better, both in his wonderfully expressive playing, and assured, yet so persuasively unassuming leadership.

And, with such eminent crowd pleasers as Grieg’s Holberg Suite, a Villa Lobos Bachianas Brasileiras, the delicious E flat Serenade by Joseph Suk, and Morgan Szymanski’s delicately-crafted reading of Vivaldi’s D major Guitar Concerto, this was always going to be a concert to die for.

But the specially-commissioned Guitar Concerto by Alec Roth eventually stole the show, for here was a brand new contemporary work which was not only perfectly formed, but was such a delight to hear – if only all of today’s so-called composers would show such consideration, and respect for their listeners’ intellect.

PHILIP R BUTTALL

www.southwestshows.co.uk

By Ivan Hewett
 Published: 1:00PM BST 29 Jul 2010

Who is he?
A superb classical guitarist, just turned 30, who leads his own chamber group, Machaca, and has played everywhere from the Wigmore Hall to Beijing.
With a name like that he must have an interestingly mixed background.
Yes, but not the one you might imagine. His father is Mexican and his mother is Scottish.

Does this show in his music?
The Mexican part certainly does. “A lot of my musical influences are Latin-American. I used to listen to traditional and folk guitar a lot. In Mexico, folk music is still firmly in people’s ears, and it’s also there in the classical music I play by Mexican composers, such as Chavez and Ponce.�

Did he start out as a folk guitarist?
He started out playing everything – pop, folk and classical. “But my mum was very clever. She said I could play my electric guitar only after I had played my classical pieces first. I owe a lot to my mum: she sent me to the National Music School in Mexico.

Who inspired him in those days?
The great Andrés Segovia above all, because “he was the one who really put the guitar on the map. Before him, it hardly existed as a solo instrument. But I also listened a lot to Julian Bream and John Williams. As a kid in Mexico, I never imagined I would one day play duets with John Williams at the Wigmore Hall.�

How did he end up in London?
Through a route that led first to the Edinburgh Music School (“because it had a very good pop course alongside the classical course�) and then to the Royal College of Music in London.

The guitar’s repertoire is pretty limited. Isn’t that a problem?
“The guitar is a young instrument in the classical world, so it’s important for players to get composers interested in writing pieces for us.�

Will he stay in the UK?
“London is a wonderful place musically, but I can’t stand the winters. One day I would like to settle in Mexico.�
Morgan Szymanski tours with the Academy of St Martin-in-the-Fields in September. His new album, ‘Los Ambulantes’, with the ensemble Machaca is on the Sarabande label.

South Wales Evening Post, Jul 23, 2010

Morgan Szymanski (guitar), St Mary’s Church, Pennard, Gower Festival IN a week dominated by oppressive clouds and heavy downpours, the outstandingly talented classical guitarist Morgan Szymanski brought Latin American sunshine to the Gower Festival. Music by Guiliani and Barrios set the cheery mood, taken forward con brio with four Venezuelan waltzes by Lauro.

The vogue for Argentine composer Astor Piazzolla continues unabated, and he was represented here by two pieces: Primavera Portena and La Muerte Del Angel. Further works by Iannarelli (born in Italy but now living in Mexico) and the Brazilian guitarist Paulo Bellinati completed a breathtaking tour of South American music.

Szymanski turned with equal sensitivity and verve to the British composer Alec Roth. Four delightful movements — together entitled Cat Dances — brought smiles both to guitarist and audience alike. Finally, the sublime Recuerdos De La Alhambra by Tarrega was the perfect encore and, unable to resist Szymanski’s infectious joy, the rain cleared.

27th April 2010 ‘Los Ambulantes’ CD launch.

In this very vibrant and visually exciting concert, the Mexican classical guitarist Morgan Szymanski was mostly performing in various ensemble formations with the members of his ensemble called Machaca, as well as some guest artists. The Machaca ensemble includes Morgan Szymanski on guitar, the ODuo on percussion, marimba and vibraphone – a percussion duo with Owen Gunnell and Oliver Cox, who were both students at the Royal College of Music, Lizzie Ball on violin and voice, Gemma Rosefield on cello, Al Mobbs on double bass, Phuong Nguyen on accordion, the flautist Adam Walker and special guest Galo Cerón on guitar and cuatro.

Adam Walker and Morgan Szymanski gave a fine performanceof Villa-Lobos’s Distribuicao de Flores and Gemma Rosefield’s cello playing had a beautiful tone quality and was full of feeling in the Bachianas Brazileiras No. 5 which she performed with Morgan Szymanski.
Machaca played some excellent Piazzolla, including his Libertango and two of Piazzollas pieces which have been arranged by Sergio Assad: Fuga y Misterio and Escualo. The combination of instruments in the arrangement, which included the marimba, was very rich and the ensemble was close and exciting. Four of Antonio Lauro’s waltzes were played on guitar, cuatro, bass and percussion, which also worked very well.  The rhythmic and timbral additions by the ODuo, who seemed to leap from one instrument to another within pieces, really added to these pieces. Equally so in Celso Machado’s pieces from Imagens do Nordeste.

The concert featured the première of Los Ambulantes by Stephen McNeff, which was especially written for the full ensemble. Los Ambulantes is the name of the Mexican street vendors, who walk around selling packets of chewing gum, tissues and other small items. The piece is modern and Morgan Szymanski says it ‘describes the chaos of Mexico City’, so you can imagine the sounds that are found in this work, which also features the whistles which los ambulantes blow as they walk the streets.  The ‘chaos’ does die down towards the end of the piece, when we are left with eerie night sounds and a calm zone before the next drama.

Another première in this concert was James Pearson’s Zacapu also written for Machaca. This had a more classical-based style, which referenced more popular music such as French chanson with the sounds of the accordion. Al Mobbs had a short passage of belly-growling on his double bass which added some humour to the composition as well. The concert ended with a further première of Stephen McNeff’s Inevitable End of the Affair, a beautifully light piece of writing with a Latin feel, which one could float home with after the concert, happily humming.

This concert which was part of ‘La Linea 2010’ Latin Music Festival celebrated the launch of Machaca’s latest recording which takes it’s title from McNeff’s piece called Los Ambulantes.  Machaca’s first album, Mano a mano, was released during La Linea 2007.

The octet includes Edinburgh’s own Chilean guitarist Galo Cerón. Watch this space, as with a mother from Ayr and counting groundbreaking musicians in his family, Szymanski has inspired vision. Title track ‘Los Ambulantes’ is a highlight, full of textures and timbres, pings, rings and evocative effects.

Review by Stephen Crawford

Morgan Szymanksi put on an impressive show as part of the Bermuda Festival at City Hall

There was a full house at City Hall on a stormy Saturday night eager to hear guitarist Morgan Szymanski’s programme. Born in Mexico City, Morgan studied at the Royal College of Music and the Conservatorium Van Amsterdam where he was prize winner in many major competitions. He is now making a name for himself as an international solo ensemble/chamber artist.

The first half of the evening was devoted mainly to music written in the romantic style; the second, music by modern composers.
The first offering was Giuliani’s ‘Grand Overture’, one of those pieces that has all the grace, elegance and charm of the period. From the start Szymanski’s interpretation was played with control, shaping the phrasing clearly, using a wide dynamic contrast and also giving the work plenty of tonal colour. Following this Four Venezuelan valses by Lauro, were all named after various family members. Szymanski gave a stylish playing of these works, always bringing out the changes in the rhythm with its hemiola patterns which are ubiquitous in Lauro’s compositions.

Next we heard three pieces by the famous Paraguayan, Agustin Barrios Mangore a wonderful romantic composer whose works span the first half of the 20th century. Waltz in D major paying hommage to Chopin. This is a lyrical piece with its dark brooding middle section followed by a beautifully extended campanella (bell like arpeggio section) before taking us back to the recapitulation. Una Limosna por el Amor De Dios (An Alm for the Love of God) is a striking tremolo work in the dark key of E minor modulating to the bright parallel key of E major. Throughout this work there was a clear seamless tapestry of sound coming from Mr. Szymanski’s guitar. The Maxixie is a South American dance similar to the Tango. This had a whimsical dance like character which I really enjoyed, as was evident seeing some of the audience moving to the pulse of the music.

The first half ended with Szymanski’s wonderful transcription of the highly evocative Preludio (Asturias) from Albeniz’ Suite Espanola. The whirling outer Toccata Sections began very quiet, giving out great power of sound in the crescendos which complemented the lovely piano Arabesque like middle section and coda.

The second half of the concert was dedicated to music by living composers. Alex Roth’s Unicorn in the Garden was especially written for Szymanski. This music had a hypnotic feel to it, tremolo passages mixed with quasi harps, languid octave harmonics and arpeggios all used to good effect. Some of the passages in this piece reminding me of Benjamin Britten’s Nocturnal. For me Szymanski’s tone was warm and radiant throughout.

Simone Iannarelli’s pieces inspired by coffee were very enjoyable and I would love to hear them again soon, as they were new to me. Next up was Brower’s Cuban landscapes with bells, again this piece using all the colours and effects the guitar has to offer, even though it’s not one of my favorites. Brower is highly regarded as one of greatest modern guitar composers.

Bringing the evening to a conclusion was the ever popular Jongo by Brazilian composer Paulo Bellinati. Jongo is based on the Afro-Brazilian style, which opens with a strong melodic bass line over some very interesting chord changes until the guitar picks up as a solo percussion instrument.
Szymanski using every part of the guitar’s body and neck brought the evening to its climax. After rapturous applause we were treated to one encore Tarrega’s evocative Recuerdos de la Alhambra. Thank you Bermuda Festival for bringing such a wonderful artist to the shores of Bermuda.

Morgan Szymanski: featured artist. Double CD review.

The Unicorn In The Garden

It’s apt that “The Unicorn in The Garden� should feature a highly artistic and engaging CD covering, clearly reflecting Morgan Szymanski’s artistic capabilities and creativities as a classical guitarist of the highest order.  Released in 2005, this recording features both a of range works specially composed for Morgan Szymanski as well as pieces from more familiar composers for classical guitar.  
Coupled with Szymanski’s technical mastery and musicianship, his clever piece selection makes for a winning combination. 

As a listener you’ll find yourself fully engaged from the start of the first track to the end of the last.  This recording culminates in just under an hours worth of during which time Szymanski will have taken you through a selection of works by well as works by Manuel M. Ponce, Agustin Barrios Mangoré as well as more recent composers, Alec Roth, Simone Iannarelli and Jorge Ritter.

The recording opens with the piece bearing the title of the recording, The Unicorn in the Garden, where the listener is immediately taken into the mysterious and mythical world of the Unicorn through the flurry of harmonics, ringing out from Morgan’s made by the Italian luthier, Luciano Lovadina.  Composed by Alec Roth, this release also later features a delightful set of pieces by the same composer entitled “Cat Dances�. Morgan uses an impressive range of guitar techniques, from glissando to artificial harmonics to really bring the distinct character traits of each to life.

The works of Morgan’s fellow countryman, Manuel Ponce are likely to be of greater familiarity to most.  Whilst written in the first half of the 20th Century, Ponce’s Suite in A minor was a deliberate attempt on Ponce’s part to emulate the style of a JS Bach Suite. The fact that the suite was composed at Segovia’s request in order to play a joke on a baroque-loving and legendary violinist fellow Fritz Kreisler must have been well executed and well received. Morgan’s qualities not just as a guitarist but as a classical musician really shine in this area, his approach revealing the intricacy of the counterpoint and clear separation of voices throughout the Suite.

JS Bach also provides an interesting link to the composer of the next piece the legendary Paraguayan guitar composer, Augustín, Barrios Mangoré, himself inspired by the works of Bach.  This disc features a perennial guitarist favourite, Una Limosna por el Amor de Dios,  the last major piece composed by Mangoré before his death. Morgan’s interpretation is a fitting tribute to this fine player and composer. The persistent and clearly executed tremolo throughout really captures the scene of a frail and pleading beggar holding out a faltering hand to secure donations from passers-by, as the composer had intended.

From Barrios, the recording moves on to two highly engaging pieces by the Italian composer Simone Iannarelli.  The first is an entertaining and delightful waltz (subtitled a Homage to Barrios) and is followed by a Cancion para Beatriz, (Song for Beatriz), where the influences of Barrios and other lyrical style composers such as Miguel Llobet are readily identifiable in the piece. Both pieces make for enjoyable listening and are again expertly performed by the player. 

Jorge Ritter’s Theme, 6 variations and Finale entitled Varaciones Capoeira bring this release to a fitting close and highlight Morgan’s versatility and excellent musicianship in presented a range of styles and musical influences. 

A highly recommended release from all of us at Classical Guitar News!

Buy it online…

Mano a Mano

Recorded at the Bolivar Hall in 2006, this release underlines both the versatility of Morgan Szymanski musicianship together with the ability of classical guitar as an instrument. Aptly entitled “Mano a Mano”, literally translated as “Hand in Hand”, the recording features a selection of broadly termed “Latin American” pieces comprising of classical guitar and range of more and less familiar instrumental combinations with harpsichord, percussion and accordion featuring alongside, voice, cuatro and cello.

Meanwhile, Machaca refers to the international ensemble formed by Morgan Szymanski in 2006, in this their first recording, ‘Mano a Mano’ launched at the Purcell Room in London’s South Bank.

The recording opens with a rarely heard Manuel Ponce’s Prelude for Harpsichord & Guitar in which Szymanski is joined by Jose Menor on the harpsichord to create a highly effective balance of voicing across the two very tonally different instruments. This is follwed by a series of three more familiar compositions by the Argentinian composer Astor Piazzolla, the first of which, Bordel 1900, bringing together guitar and Violin (played by Ruth Rogers) to stunning effect. The late night ambiance of a Parisian Cafe is similarly brought vividly to live in the second Piazzolla piece, Café 1930, as Morgan’s guitar is joined by the Vietnamese Accordion player, Phoung Nguyen. Piazzolla is rounded off by a return to the familiar pairing of guitar and violin in Nightclub 1960.

It’s then the turn of Venezuelan composer Antonio Lauro, with the popular guitar Vals Criollo (Natalia) set to an instrumental arrangement of guitar, voice, cuatro and percussion.

The waltz theme is continued in the highly engaging Valzer Brilliante composed by the Italian composer, Simone Iannarelli, for which Szymanski is joined by the Sacconi Quartet before two well-known works by the Cuban composer and guitarist, Leo Brouwer; Danza Característica and Canción de Cuna (Lullaby). In both instances the percussive elements of the guitar are really brought to the fore by Szymanski, as guitar combines with percussion and voice in the case of Canción, where, Soprano, Laura Mitchell makes a guest appearance.

Manuel Ponce is again represented here, but this time in the form of Estrellita played by Szymanski and cellist Gemma Rosefield. Paulo Bellinati features next as guitar and percussion combine in a powerful rendition of the perennial guitarist favourite Jongo, featuring some amazing percussive effects on both instrumental areas.

No South American themed collection would be complete with a work or two by the Brazilian composer, Heitor Villa Lobos. In this instance it’s Bachianas Brazilieras No 5 (Aria), sung by Laura Mitchell, again showing what an emotive and effective musical blend of voice and guitar can be. The recording concludes with a series of pieces composed by the English composer Alec Roth, bringing together Szymanski’s excellent guitar with the excellent string technique and musicianship of the Sacconi string Quartet.