Astor Piazzolla:  Tango Suite (1984) | Duo Kontaxakis-Ivanovich | FIGG 2018

Stage: Remember

Remember this amazing concert at 5th edition of Guimarães International Guitar Festival

July 8 | Duo Kontaxakis - Ivanovich @ Concert

Remember this amazing conference  - FIGG 2018

Sep. 25 | Music as window to the Brain @ Conference

"This work intends to reflect on the pedagogical work of Eurico Augusto Cebolo
(October 28, 1938). 
Throughout his career, the aforementioned author has published 51 manuals dedicated to the teaching of music. These manuals are sold all over the country, reaching out to a large number of
people who through them begin to study music.
The enormous dissemination of the pedagogical work of Eurico Cebolo at
national level, resulting in an initial training in music of a large part of the Portuguese population that is dedicated to the study of an instrument, makes it pertinent to investigate the content of this work and what proposals are presented in it. In addition, these pedagogical works are not commonly accepted in the more orthodox academic community, and even mocked and mocked by less informed
musicians, who probably never spent a single minute to analyze in a minimally critical way the content in these works. In my view, this is a very unfair position, since it does not even try to understand the essence of Cebolo’s work.
Throughout this communication, I will try to demystify this work and contribute to a
better understanding of what is the pedagogical work of this author.
The focus of the work will be exclusively on the pedagogical work for guitar of this composer since it is intended later to insert the results obtained in an investigation on
the teaching of guitar in Portugal at unofficial level.
In this work only the manuals titled Guitar Mágica 1, 2 and 3 will be object of study because they are the only ones that present pieces by the author of Eurico A. Cebolo.
A description of each manual will be made, and a comparison will be made with works
by other authors that approached the same theme."

Aires Pinheiro

Nov. 13 | “Peeling the Magic Guitar from Eurico A. Cebolo” @ Conference

Stage: Eurostrings

July 23 | 4th EuroStrings Competition Petrer 2021 - Semifinal!

July 24 |  FINALS - 4th EuroStrings Competition (2021) Live from Petrer

String Talks with Eurostrings Artists via Zoom. 

Oct. 02 | String Talks with Eurostrings Artists

Álvaro Miranda

Oct. 10 | Álvaro Miranda @ Eurostrings

Concert with Cheng Shi, Eurostrings Artist 2021

Cheng Shi

Oct. 17 | Cheng Shi @ Eurostrings

Concert with  Kevin Loh, Eurostrings Artist 2021. 

Kevin Loh

Oct. 24 | Kevin Loh @ Eurostrings

Concert with François-Xavier Dangremont, Eurostrings Artist 2021

François-Xavier Dangremont

Oct. 31 | François-Xavier Dangremont @ Eurostrings

Conference: Eduardo Baltar Soares, CEHUM, Centro de Estudos Humanísticos, Universidade do Minho, Portugal

Stage: FIGG

- Fernando SOR (1778-1839):   Fantasía nº 7 Op. 30  (“Fantaisie et Variations Brillantes sur deux Airs Favoris connus”, dediées á son ami D. Aguado)

- Manuel DE FALLA (1876-1946) : Escena, Canción del Fuego Fatuo *  (from El Amor Brujo)

- Mario CASTELNUOVO-TEDESCO (1895-1968): Capriccio Diabolico ("Omaggio a Paganini"), Op. 85

- Agustín CASTILLA-AVILA (n. 1974)   - “El Silencio que mata”  for  M. Escarpa

- Roland DYENS (1955- 2016): Hommage à Villa-lobos:
                                   Climazonie
                                   Danse caracterielle et Bachianinha
                                   Andantinostalgie
                                  Tuhu

- Astor Pantaleón PIAZZOLLA (1921- 1992): Acentuado y Compadre from Cinco Piezas para Guitarra
 
*Transcription: M Escarpa

Margarita Escarpa

 July 05 | Margarita Escarpa @ Concert 


Listen to classical guitar, performed by the winner of the 6th "Cidade de Guimarães" International Guitar Competition 2019 (Category F). The program includes pieces from Francesco Da Milano (1497-1543) ,  Luigi Legnani (1790-1877) , Heitor Villa-Lobos (1887-1959) and Mario Castelnuovo-Tedesco (1895-1968). 



Louison Petit

July 06 |  Louison Petit @ Classical Guitar

The CIRCUM-NAVIGATION - MUSIC AROUND THE WORLD concert is an imaginary
soundtrack to the first voyage around the globe by Ferdinand Magellan, although located in
modern times and played in modern instruments. This tribute to the great portuguese
navigator tries to capture the sounds and well-known music and composers from several cultures and countries as well as guitar and mandolin do nowadays, easily going from classic to folk music, and from East to the West in a glimpse.

PROGRAM

Sevilla - Isaac Albéniz (1860-1909)
Godfather Suite - Nino Rota (1911-1979)
Celtic Fairies - Bruno Szordikowsky (*1944) 
Suíte Mexicana op. 16 - Eduardo Ângulo (*1954) 
Libertango, Astor Piazzolla (1921-1992)
Siberian Spring | Yasuo Kuwahara (1946-2003)

OPGB Soloists

July 10 | Circum-Navigation: Music Around The World @ Concert

"In the Labyrinth of Paredes" pays tribute to the Portuguese virtuoso Carlos Paredes (Coimbra, 1925 - Lisboa, 2004), whose contributions to the development of the Portuguese guitar are still unique. In this concert, we propose a journey to the eye of the labyrinth across the different paths of his guitar music, but also music by Pedro Caldeira Cabral, Alcino Frazão and our own. Difficult not to get lost or scared when standing before such a giant. In this labyrinth though, there is no place for fear, because the strength, tenderness, inspiration and sensibility will guide us to find the way out.

Baltar Cassola Guitar Duo

July 25 | In the Labyrinth of Paredes @ Concert

Music training and child development: a review of recent findings from a longitudinal study. 

Evidence suggests that learning to play music enhances musical processing skills and benefits other cognitive abilities.
Furthermore, studies of children and adults indicate that the brains of musicians and nonmusicians are different. It
has not been determined, however, whether such differences result from pre-existing traits, musical training, or an
interaction between the two. As part of an ongoing longitudinal study, we investigated the effects of music training on
children’s brain and cognitive development. The target group of children was compared with two groups of children,
one involved in sports and another not enrolled in any systematic afterschool training. Two years after training, we
observed that children in the music group had better performance than comparison groups in musically relevant
auditory skills and showed related brain changes. For nonmusical skills, children with music training, compared with
children without music or with sports training, showed stronger neural activation during a cognitive inhibition task
in regions involved in response inhibition despite no differences in performance on behavioral measures of executive
function. No such differences were found between music and sports groups. We conclude that music training induces
brain and behavioral changes in children, and those changes are not attributable to pre-existing biological traits.

Beatriz Ilari

July 31 |  Music training and child development @ Conference

Por finais do século XVIII, depois da revolução francesa, foram abertas em Paris algumas escolas internas laicas para meninas e raparigas. Entre elas, em Saint-Germain, encontrava-se a
 pensão de Madame Campan, que chegou a ser muito famosa; mas houve uma outra que más tarde rivalizou com esta: a casa de Madame Migneron-Remy. Mencionamos estas duas escolas porque na primeira,  provavelmente, deu aulas de guitarra e harpa Guillaume Gatayes, e porque na segunda, tal como tem revelado a nossa investigação, foi docente o famoso guitarrista Fernando Sor.

Ricardo Barceló

Sep. 11 | Gatayes e Sor: professores de guitarra em escolas para jovens damas em Paris? @ Conference

Every musician must know how to play a certain instrument. It takes years of practice and a lot of study throughout that path. But ever wondered how that path came into your life? And for the composers, is there a great argument for the upcoming elements that comes to your mind? And how does that seem to reach the mind of the audience? Music can really reach hidden parts of the mind you didn’t know existed. It even has the power to change the world. The goal of this presentation is to give a psychodynamic perspective of the power of the music in both the composer and the audience, through an example of the inspiration that came to Paul McCartney that led him to compose what came to be one of the most important musical pieces of The Beatles: Let it Be.

Mafalda Sousela

Sept 12 | Let It Be:The music as a rear window of the mind @ Conference

In 1926, Alfredo Guimarães (1882-1958), writer and responsible for the installation of the Alberto Sampaio museum, still remembers having met people from Guimarães called “violeira”, that is, sons of those who made musical instruments.
They were the descendants of artisans of a trade that, in Guimarães, has been documented since the 17th century, but which for various reasons became extinct during the 19th century.
In this communication, we will see who these builders were, how they were organized, what instruments they built, and what places they occupied in the cities.

Eduardo Baltar Soares

Sep. 19 | The construction of musical instruments in Guimarães: a forgotten craft. @ Conference

Concert with Croatian Guitarist Dejan Ivanovich.

Dejan Ivanovich

Oct. 03 | Dejan Ivanovich @ Concert

The Cuban musician and living legend Leo Brouwer (Havana, 1939) has been playing a role model in
the guitar world since the second half of the 20 th Century until nowadays as a classical guitar player
and an outstanding composer as well. Nonetheless, not everybody seems to be aware of a less
known side of this polyhedric personality.
We would like to show how his vast experience as a performer, conductor, composer and teacher in
numerous masterclasses, along with his publications and theoretical thought on music and guitar
technique, contribute in a very significant way to such a unique position in the Guitar pedagogy.
A deep look on Brouwer’s most relevant didactic compositions such as Estudios Sencillos and Nuevos
Estudios Sencillos will be done, as well as an attempt to describe his teaching profile through
observing some of his masterclasses. Finally, an analysis on some of his theoretical publications on
guitar issues will algo be presented.
Doing so, this article is intended to present a reflexion on Brouwer’s role as a prominent figure in the
Guitar teaching, bringing to light some of his pedagogical guidelines, as well as his main
contributions for a new Guitar pedagogy, bringing his experiences as a performer together with the
composer of some of the most important modern didactic repertoire.