Acoustic Guitar senior editor Teja Gerken plays his arrangement of Johann Sebastian Bach's Minuet in D Minor BWV Anh. 132 in DADGAD tuning
Friday, December 16, 2011
Friday, December 9, 2011
Irish Guitar Lesson - Miss Monaghan's
Patsy Obrien teaches the classic Irish Tune "Miss Monaghan's" - Both the Rhythmic Accompaniment and also the Melody.
Hits and misses at the Chamber Orchestra
Cover of Philadelphia OrchestraOn Sunday, the Cincinnati Chamber Orchestra presented its second concert of the season led by Mischa Santora in the Mayerson Theater at the School for Creative and Performing Arts, Over-the-Rhine. The highlight was a world premiere flute concerto, performed by the principal flutist of the Philadelphia Orchestra, Jeffrey Khaner. Lowlights included a ragged performance of Beethoven’s Symphony No. 3 — and too much talking between movements.
It’s amazing that they were able to field an orchestra that day. Because, simultaneously, within about a few blocks in each direction, there were performances by the Cincinnati Pops in Music Hall, and by the CCM Philharmonia and choruses at St. Peter in Chains Cathedral, Downtown.
The orchestra commissioned the Flute Concerto by Eric Sessler of Philadelphia. Two of the movements are named for the alternate guitar tunings that inspired his music: DADGAD/Poetic and Orkney. But aside from that — which was not obvious to those of us who don’t play guitar — the work was immediately appealing. It had a distinctly mid-century American feel, in the vein of Aaron Copland and Roy Harris, with a few moments minimalism. It seems destined to find a home among the established repertoire for the flute.
It’s amazing that they were able to field an orchestra that day. Because, simultaneously, within about a few blocks in each direction, there were performances by the Cincinnati Pops in Music Hall, and by the CCM Philharmonia and choruses at St. Peter in Chains Cathedral, Downtown.
The orchestra commissioned the Flute Concerto by Eric Sessler of Philadelphia. Two of the movements are named for the alternate guitar tunings that inspired his music: DADGAD/Poetic and Orkney. But aside from that — which was not obvious to those of us who don’t play guitar — the work was immediately appealing. It had a distinctly mid-century American feel, in the vein of Aaron Copland and Roy Harris, with a few moments minimalism. It seems destined to find a home among the established repertoire for the flute.
Friday, December 2, 2011
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