Dates and details may change, so readers are encouraged to check organisers’ websites for the latest information.

Intensive Summer Schools (Multi-Day Courses)

West Dean International Classical Guitar Festival & Summer School

Dates: 15–20 August 2026
Location: West Dean College, near Chichester, West Sussex

A prestigious week-long residential course in the South Downs, open to adult guitarists from approximately Grade 2 to advanced and professional level. Directed by Andrew Gough, the programme includes individual lessons, masterclasses, ensemble coaching, guitar orchestra, repertoire classes, evening concerts, and an Open Day featuring luthiers and lectures.
Website: https://www.westdean.ac.uk/short-courses/scg39817-west-dean-international-classical-guitar-festival-2026

IGF Bath Guitar Festival & Summer School

Dates: Mid-August 2026 (dates TBC)
Location: Bath, Somerset

Organised by the International Guitar Foundation, this major annual summer school typically runs for five to six days. The classical guitar course welcomes players from beginner to advanced level and offers masterclasses, ensemble and orchestra coaching, lectures, concerts, and individual lessons, alongside parallel courses in other guitar styles.
Website: https://www.igf.org.uk

Classical Guitar Retreat

Dates: 7–13 July 2026
Location: Laidlaw Music Centre, University of St Andrews, Scotland

A highly regarded six-day residential retreat for intermediate to advanced guitarists. Directed by Matthew McAllister, participants receive four individual lessons, daily technique classes, ensemble and guitar orchestra work, performance classes, Q&A sessions, a luthier expo, and an optional competition.
Website: https://cgretreat.com

Guitar Summer School at Ammerdown

Dates: Early August 2026 (likely first week)
Location: Ammerdown Centre, near Bath, Somerset

Formerly the Dillington Guitar Summer School, this residential course is led by the Eden Stell Guitar Duo with additional tutors. Suitable for all levels except absolute beginners, the emphasis is on ensemble playing in a supportive, non-competitive atmosphere, alongside technique classes, concerts and informal performance opportunities.
Website: https://www.guitarsummerschool.co.uk

Guitar Dreams Retreat

A major residential retreat at Cameron House, Loch Lomond, Scotland. While it covers multiple styles (rock, blues, jazz), it includes a classical element and major artists.

• ​Dates: 12–16 August 2026
• ​Artists: Eric Johnson, Mike Stern, Guthrie Trapp, and others.

Weekend Workshops and Guitar Retreats

Craig Ogden Classical Guitar Masterclass

Dates: 28–30 August 2026
Location: Hawkwood College, Stroud, Cotswolds

An intensive residential weekend for accomplished intermediate to advanced players (approximately Grade 6+). Led by Craig Ogden, the course includes solo masterclasses, ensemble work and individual coaching, typically opening with a concert by the tutor.
Website: https://craigogden.com/tag/course/

Hillscourt Guitar Weekend (FGS Guitar Break)

Dates: 17–19 April 2026
Location: Hillscourt Conference Centre, Rednal, Birmingham

A relaxed, community-focused ensemble weekend organised by the Federation of Guitar Societies. Open to players of all abilities, the emphasis is on sight-reading, guitar orchestra playing and social music-making in a friendly, pressure-free environment.
Website: https://www.federationofguitarsocieties.org.uk/Events/

Jackdaws Classical Guitar Ensemble Weekend (Eden Stell Guitar Duo)

Dates: 15-18 January 2026
Location: Jackdaws Music Education Trust, Great Elm, Somerset

A residential guitar ensemble weekend led by the Eden Stell Guitar Duo (Mark Eden and Christopher Stell). Open to players of all levels, the course focuses on ensemble skills, sight-reading, repertoire preparation and coached rehearsals in a supportive environment. Music is typically provided in advance, with accommodation and meals available on site.
Website: https://www.jackdaws.org.uk

Cawsand Bay Guitarfest

Dates: 11-13 September 2026
Location: Cawsand and Kingsand, Cornwall

A popular seaside guitar weekend combining concerts, masterclasses, workshops and ensemble playing with a holiday-style atmosphere. Open to adult players from late beginner to advanced amateur, with plenty of informal performance and social opportunities.
Website: https://cawsandbayguitarfest.co.uk

“Guitars by the Sea” Brighton Ensemble Weekend

Dates: See website, but dates from 28 Feb 2026
Location: Brighton, East Sussex

An ensemble-focused, non-residential weekend organised by the Brighton Guitar Group. Typically includes large guitar ensemble rehearsals, technique coaching and an evening concert by a guest artist. Suitable for players of all abilities.
Website: (Brighton Guitar Group – dates to be announced)

West Dean Short Course (Spring): Classical Guitar – Ensemble Playing and Performance

• ​Dates: 29–31 March 2026
• ​Tutors: Amanda Cook and Andrew Gough.

Wrexham International Jazz Guitar Weekend

Relevant for classical guitarists interested in broadening their style.

• ​Dates: 10–12 April 2026
• ​Location: North Wales.

Benslow Music Courses

Benslow Music (Hitchin) is a major provider of adult music courses.

• Lute Fest: Scheduled for 5–8 March 2026 (in association with The Lute Society).
• Note: Benslow typically releases a “Classical Guitar Ensemble” course (often in the summer or autumn) but dates are not yet available.

Youth and Specialist Courses

Yehudi Menuhin School Summer School – Course 2

Dates: 27 July – 1 August 2026
Location: Stoke d’Abernon, Surrey

An elite residential summer school for talented young musicians aged approximately 11–16, including a classical guitar strand (minimum Grade 5). The programme includes instrumental lessons, chamber music, ensemble playing, theory, wellbeing sessions and performance opportunities on the Yehudi Menuhin School campus.
Website: https://www.menuhinschool.co.uk/summer-school

RCS Young Classical Guitarists Summer School

Dates: 13–17 July 2026
Location: Royal Conservatoire of Scotland, Glasgow

A week-long non-residential course for guitarists aged 10–18, welcoming all levels. The programme includes individual lessons, technique classes, ensemble and orchestra work, sight-reading, performance masterclasses and a final student concert.
Website: https://www.rcs.ac.uk/courses/classical-guitar-ages-10-18/

Festivals and Conventions

London Guitar Festival

Dates: October 2026 (dates TBC)
Location: London

An international guitar festival organised by the International Guitar Foundation, featuring concerts by leading artists, workshops, masterclasses, composer talks and the London International Guitar Competition. Open to players and audiences alike.
Website: https://www.igf.org.uk/london-guitar-festival

Ullapool Guitar Festival

Dates: 2-4 October 2026
Location: Ullapool, Scottish Highlands

A long-running and friendly guitar festival weekend featuring concerts, open mic sessions and informal workshops across a range of guitar styles, with classical guitar usually represented among the performers.
Website: https://ullapoolguitarfestival.com

North East Guitar Show

Date: 12 April 2026

Location: Rainton Meadows Arena.

While primarily a trade show, it is a significant event for guitar enthusiasts in the region.

I uploaded the syllabi of some leading international examination boards — the Associated Board of the Royal Schools of Music (ABRSM), RSL Awards, the University of South Africa (Unisa), and The Royal Conservatory of Music (RCM) and Trinity College of Music (TCL) — into NotebookLM and asked it to suggest some works from the syllabi matching each month’s theme. I’ve aimed to find something for every proficiency level.

Important! AI tools like NotebookLM can “Hallucinate” or dream up non-existent references and works. I haven’t gone through everything here with a fine-toothed comb yet, so you may discover some works you’ve never heard of (and neither has anyone else!) I’ll try to weed these out as I discover them.

Defining Proficiency Levels

I’ve grouped pieces in three core proficiency levels, which correspond to the grade levels of the source syllabi. This progression ensures a logical and steady development of both technical and musical skills. ABRSM, TCL and Unisa have Grades 1-8 and then diplomas, RCM has 10 grades.

• Beginner: Corresponds to Initial/Debut, Pre-Grade 1, Preparatory, and Grades 1 through 3. This stage focuses on establishing solid foundational skills in posture, tone production, rhythm, and note-reading.

• Intermediate: Corresponds to Grades 4 through 6. This stage builds upon the foundation by introducing more complex techniques, a wider expressive range, and more sophisticated repertoire.

• Advanced: Corresponds to Grades 7 and 8 and above. This stage challenges students to achieve a high level of technical mastery, develop a mature musical voice, and tackle cornerstone works of the classical guitar literature.

January: Distant Lands

The “Distant Lands” theme serves as a vibrant gateway to the heart of the classical guitar repertoire. The instrument has long been a vessel for folk traditions and nationalistic expression, and by exploring this music, from the rich traditions of Iberia and Latin America to the evocative folk melodies of wider Europe, members are immediately immersed in a vocabulary of compelling rhythms, expressive techniques, and a palette of harmonic colours fundamental to the guitar’s identity. This exploration provides a powerful and motivating start to the year’s journey.

Beginner Repertoire (Debut – Grade 3)

Intermediate Repertoire (Grades 4 – 6)

Advanced Repertoire (Grades 7 – 8)

From the vivid landscapes and folk traditions of distant lands, we turn inward to examine the abstract architecture of musical form.

February: Numbers & Patterns

This theme places a strategic focus on the mathematical elegance and structural logic that underpins music. By concentrating on pieces built from clear patterns, ostinatos, and formal structures like theme and variations, members can explore exceptional rhythmic precision and a deeper understanding of musical construction. This celebration of groove, symmetry, counterpoint, and polyrhythm might appeal to those members who enjoy a connection between music and mathematics.

Beginner Repertoire (Debut – Grade 3)

Intermediate Repertoire (Grades 4 – 6)

Advanced Repertoire (Grades 7 – 8)

Having explored the abstract beauty of patterns, we now apply our skills to the deeply personal art of musical portraiture.

March: Faces & Places

The “Faces & Places” theme encourages members to move beyond the notes on the page and become musical storytellers. By engaging with repertoire that depicts characters, historical figures, or evocative locations, students learn to use technique in service of interpretation. This theme is an exercise in imagination, challenging the player to use tone colour, articulation, and dynamic shaping to paint vivid sonic pictures, thereby developing a more personal and communicative performance style.

Beginner Repertoire (Debut – Grade 3)

Intermediate Repertoire (Grades 4 – 6)

Advanced Repertoire (Grades 7 – 8)

Our journey through well-known musical scenes now takes a turn toward discovering works that lie off the beaten path.

April: Hidden Treasures

This theme is dedicated to the joy of discovery. “Hidden Treasures” encourages students to broaden their musical horizons by exploring compelling works beyond the standard teaching canon. The focus is on overlooked historical gems and engaging miniatures by contemporary composers. This exploration not only expands a student’s repertoire but also fosters curiosity, independence, and a deeper appreciation for the vast and varied landscape of classical guitar music.

Beginner Repertoire (Debut – Grade 3)

Intermediate Repertoire (Grades 4 – 6)

Advanced Repertoire (Grades 7 – 8)

Having unearthed these diverse works, we now sharpen our focus on the specific and vital genre of the concert study.

May: Study in Style (Etudes)

This month is devoted to the concert etude, a genre that masterfully bridges the gap between technical exercises and performance repertoire. An etude is designed with a dual purpose: to isolate and conquer a specific technical challenge—be it slurs, arpeggios, or scales—and to stand alone as a convincing and expressive musical work. This focus helps us players understand that technique is not an end in itself, but the essential tool for achieving artistic expression.

Beginner Etudes (Debut – Grade 3)

Intermediate Etudes (Grades 4 – 6)

Advanced Etudes (Grades 7 – 8)

Having refined our interpretative skills through the etude, we now deconstruct the very fabric of guitar composition by analyzing masterful arrangements.

June: Composition and Arrangement

The examination syllabi are rich with masterful arrangements of folk songs, orchestral works, and popular music. If you’re not submitting an original composition, consider trying your hand at an arrangement! Failing that, try to analyse some great arrangements to see why they work. By deconstructing these arrangements, we can learn fundamental principles of voicing, harmony, texture, and instrumental adaptation.

Below is a selection of arrangements from the syllabi that offer excellent insight into the arranger’s craft.

• Holst, I vow to thee, my country, arr. Mermikides (ABRSM Grade 1): This arrangement preserves a noble melodic line while creating a simple, supportive harmony playable by a beginner. Students learn the crucial skill of balancing melody and accompaniment, ensuring the theme sings clearly above the harmony.

• Musorgsky, The Old Castle, arr. Hegel (ABRSM Grade 1): Sourced from the famous piano suite, this piece demonstrates how to capture the essence of a larger work. By studying this, a student learns how to imply multiple musical lines—the lyrical saxophone melody and the trudging piano accompaniment—within a single, coherent guitar part.

• David Guetta feat. Sia, Titanium, arr. Harrison/Hards (RSL Grade 1): This arrangement skillfully translates the electronic texture and vocal power of a pop anthem through a combination of percussive bass notes and a clear, singing melody in the upper register, teaching students how to separate and define distinct musical layers.

• Smetana, Vltava (from Má vlast), arr. Ryan (ABRSM Grade 4): Taking a famous orchestral tone poem and adapting it for solo guitar is a significant challenge. The arrangement uses flowing arpeggios and careful voicing to evoke the original orchestral texture, teaching students how to use the guitar’s resonant qualities to create an illusion of space and color.

• John Williams, Star Wars (Main Theme), arr. Hards (RSL Grade 4): This arrangement captures the heroic, brass-driven fanfare of the iconic film score. By studying this arrangement, students learn how to create a powerful orchestral tutti effect on a solo instrument through the use of open-string bass notes and full, resonant chord voicings.

• Seal, Kiss from a Rose, arr. Harrison/Rattenbury (RSL Grade 6): Translating this intricately layered 90s pop hit requires careful attention to its unique waltz-time feel. The arrangement uses counterpoint and arpeggiated chords to suggest the rich background harmonies, teaching the student how to manage complex textures and maintain rhythmic drive.

July & December: Celebration Concerts

These two months are dedicated to the art of performance. Having spent the preceding months exploring new themes and repertoire, members are encouraged to select and polish a favourite piece. The goal is to prepare for a celebratory concert, providing a valuable opportunity to share their progress and passion with members, friends, and family in a supportive and encouraging setting. No new repertoire is introduced during this time.

September: “Easy but not Cheap”

The theme of “Easy but not Cheap” is an exercise in deep musicality. It involves revisiting foundational repertoire from the beginner and early-intermediate levels with the sophisticated mindset of a more advanced player. The goal is not technical challenge, but artistic refinement. This focused work encourages the student to perfect every detail—achieving the most beautiful tone, the most elegant phrasing, and the highest level of musical polish on pieces that may seem simple on the surface but offer profound opportunities for artistry.

Here are some examples:

• Andantino by Aguado (ABRSM Grade 1): An ideal piece for perfecting a pure, singing cantabile melody. The focus here is on seamless legato and practicing fine control over the crescendo-diminuendo shape of a two-bar phrase.

• Song for a Friend by Laura Snowden (RSL Grade 2): This piece invites a deep dive into tone color and narrative. Students can experiment with varied touch (apoyando vs. tirando, playing near the bridge vs. over the soundhole) to convey the gentle, storytelling quality of the music.

• Waltz, Op. 241, No. 21 by Ferdinando Carulli (RSL Grade 3): A perfect vehicle for refining rhythmic grace. The challenge is controlling the articulation between the bass note and the upper chords to achieve a true “oom-pah-pah” feel with stylistic lift and forward momentum.

• Soldatenmarsch (Soldier’s March) by Robert Schumann (RCM Level 4): This piece demands impeccable rhythmic clarity. An advanced player can refine the crispness of the dotted rhythms and the character of the detached notes to create a performance of military precision and wit.

• Pastorale by Matteo Carcassi (ABRSM Grade 4): An excellent study in creating atmosphere and controlling texture. The focus is on sustaining the peaceful mood through subtle phrasing and maintaining a clear dynamic distinction between the gentle melodic figures and their drone-like accompaniment.

Next, we move into the gentle and expressive world of night music.

October: Moonlit Strings

“Moonlit Strings” focuses on the art of creating atmosphere and sustaining a beautiful, singing tone (cantabile). This theme centers on gentle, lyrical, and often melancholic repertoire, such as nocturnes, romances, and berceuses. These pieces present the profound challenge of mastering quiet dynamics, shaping long melodic lines, and using subtle variations in tone color to evoke a sense of dreaminess and introspection. It is an essential study in tonal control and expressive depth.

Beginner Repertoire (Debut – Grade 3)

Intermediate Repertoire (Grades 4 – 6)

Advanced Repertoire (Grades 7 – 8)

The atmospheric storytelling cultivated in this theme provides a perfect foundation for exploring more explicit narrative forms.

November: Once Upon a Time

This theme, “Once Upon a Time,” focuses on the rich tradition of programmatic music—works specifically intended to tell a story, depict a scene, or portray a character. Engaging with this repertoire encourages students to analyze musical form as a narrative arc, identifying moments of tension, climax, and resolution. They learn to use their full range of technical and expressive tools to convey a plot, transforming their performance from a series of notes into a compelling tale.

Beginner Repertoire (Debut – Grade 3)

Intermediate Repertoire (Grades 4 – 6)

Advanced Repertoire (Grades 7 – 8)

An infographic

Another NotebookLM feature!

If you want to remember the previous years’ themes, check out the Theme Nights for Solos in 2024 andThemes for 2025 meetings posts.

While the 2026 programme is still awaiting formal approval at the January 2026 Meetup and AGM, I think I can reveal the proposed themes as a preview!

Update: we swapped June and November themes after the Feb exec meeting.

Themes

• January — Distant Lands
  Journeys in sound from Iberia to the Andes.
• February — Numbers & Patterns
  Groove, symmetry, polymeter, variations.
• March — Faces & Places
  Musical portraits.
• April — Hidden Treasures
  Overlooked gems and modern miniatures that sing.
• May — Study in Style (Etudes)
  Studies that also make convincing concert pieces.
• June — Once Upon a Time
  Narratives, scenes, characters—music with a plot.
• July — Summer Celebration
  Members’ concert and social.
• September — “Easy but not Cheap”
  Maximum difficulty Grade pieces done to the best of the player’s ability.
• October — Moonlit Strings
  Gentle night-music: rocking, dreamy, cantabile.
• November — Composition Competition
  Original compositions and arrangements.
• December — Winter Celebration
  Members’ concert and mince pies.

Artwork

I’ve generated some matching hero images for each month’s theme. Here’s the full calendar!

2025

We’re proud to present a very exciting 2025 line-up! In addition to the usual monthly meetup format, where we have solo and ensemble sessions, we’ll have:

• 4 talks by members with topics like “Software tools for ensemble practice“
• 3 Visiting Artist short concerts and lectures during meetups: Sam Brown, the Mosaic Guitar Ensemble, Steve Toon
• 4 recitals by IGF Young Artists 2025 (Wales Guitar Duo, Luke Tyrell, Duo Cantelina and the Fika Duo)
• Members’ Summer and Winter concerts
• BCGS Concert Series: Pavel Ralev, Sat 15 Mar 2025
• BCGS Concert Series: Eden-Stell Duo, Sat 14 June 2025
• BCGS Concert Series: Ian Watt, Sat 15 November 2025

See the full Annual Programme here

Download a PDF calendar

• January Meetup and AGM — January 9, 2025 @ 7:15 pm
• February 2025 Meetup — February 13, 2025 @ 7:15 pm
• March 2025 Meetup and Wales Guitar Duo — March 13, 2025 @ 7:15 pm
• BCGS Concert Series 2025 – Pavel Ralev — March 15, 2025 @ 7:30 pm
• April 2025 Meetup and Luke Tyrell — April 10, 2025 @ 7:15 pm
• Luke Tyrell: IGF Young Artist — April 10, 2025 @ 8:00 pm
• May 2025 Meetup — May 8, 2025 @ 7:15 pm
• June 2025 Meetup and Composition Competition — June 12, 2025 @ 7:15 pm
• BCGS Concert Series 2025 – Eden-Stell Duo — June 14, 2025 @ 7:30 pm
• 2025 Members’ Summer Concert — July 10, 2025 @ 7:15 pm
• September 2025 Meetup and Duo Cantelina — September 11, 2025 @ 7:15 pm
• Duo Cantelina: IGF Young Artist Platform — September 11, 2025 @ 8:10 pm
• October 2025 Meetup and Fika Duo — October 9, 2025 @ 7:15 pm
• Fika Duo: IGF Young Artists Platform — October 9, 2025 @ 8:10 pm
• November 2025 Meetup — November 13, 2025 @ 7:15 pm
• BCGS Concert Series 2025 – Ian Watt — November 15, 2025 @ 7:30 pm
• 2025 Members’ Winter Concert — December 11, 2025 @ 7:00 pm

The monthly themes were described in https://www.bristolclassicalguitarsociety.org/2025/01/01/themes-for-2025-meetings/.

The term Fika comes from the Swedish tradition of enjoying a break during the day to eat or drink something sweet to recharge one‘s energy. The duo aims to build a unique concert repertoire through new arrangements and collaborations with composers, including Zoë‘s own
compositions and live improvisations. I think, based upon their performance, they certainly achieved their goals.

The duo produced a thoughtful programme, showcasing excellent technique and musical synergy, which resonated well with the audience.

The flute can often dominate the sound of a classical guitar in such pairings, but Zoë and Emma were perfectly matched, creating a harmonious interplay which felt both natural and deliberate. This balance set the stage for a high quality performance throughout.

A highlight of the evening was the performance of Swarming, a commissioned piece by Effy Efthymiou which through the duo‘s interplay with rapid, intricate passages, evoked the frenetic buzz of swarming insects.

The duo‘s rendition of Histoire du Tango (Astor Piazzolla) transported the audience through the gritty bordellos of the 1900s, to the more romantic setting of Parisian cafes in the 1930s , Nightclub 1960, infused with bossa nova vibes and the Concert of Today (1985).

Other standouts were Cable to the Sun by fellow student Franklin Onyeso and Zoë‘s improvised composition Low Earth Orbit. Equally impressive was Stephen Goss‘s composition La Catedral Sumergida, a piece originally commissioned for BCGS‘s own Francisco and Emily Correa. The evening concluded with a playful encore, Philip Houghton‘s Gary the Gecko.

I’m sure I can say on behalf of the audience that it was an excellent recital and we look forward to further
performances by this talented duo.

Programme

ASTOR PIAZZOLLA (1921–1992)
Histoire du Tango
i. Bordel 1900

EFFY EFTHYMIOU (1980-)

Swarming (IGF Commission)

ASTOR PIAZZOLLA
Histoire du Tango (ctd.)
ii. Café 1930

FRANKLIN ONYESO (2005–)
Cable to the Sun

ZOË MEADOWCROFT (2005–)
Low Earth Orbit

ASTOR PIAZZOLLA
Histoire du Tango (ctd.)
iii. Nightclub 1960

STEPHEN GOSS (1964–)
La Catedral Sumergida

ASTOR PIAZZOLLA
Histoire du Tango (ctd.)
iv. Concert d’Aujourd’hui

For Micaela, this tour was a chance to perform internationally, but also immerse herself in the UK’s vibrant guitar community, to learn, to teach, and to build friendships through music. For everyone who heard her play, it was an unforgettable reminder of the power of cultural exchange.

About Mica

Micaela (“Mica”) trained at the National Conservatory of Music of Paraguay and the Institute of Fine Arts, before pursuing further studies at the National University of Rosario in Argentina. Along the way, she has studied with leading guitarists including Eduardo Isaac, Eduardo Fernández, and Juan Almada, and taken masterclasses with an impressive list of international stars such as Berta Rojas, William Kanengiser, Edelton Gloeden, and Víctor Villadangos.

Her artistry reflects this wide-ranging background: deeply rooted in Latin American traditions but refined through the discipline of the classical canon. Mica was a member of the “Ensamble Pu Rory” project, directed by Maestra Berta Rojas, and was a recipient of the Instrumentoteca Toyota prize, which gave her not only a fine concert guitar but also the opportunity to travel and develop her career abroad.

A Summer of Music

Mica’s whirlwind UK adventure in August 2025  took her to some of the country’s most important guitar gatherings, as both student and performer.

She first joined the Ammerdown Guitar Summer School, where she quickly impressed both tutors and fellow participants with her sensitive playing and warmth of character. She performed as a guest artist with co-sponsor WAGO at Ammerdown, in the premiere performance of a new 7 mov composition written for WAGO called Wessex Wyverns by Stephen Goss (solists Mark Eden and Nicola Russell).

From there, she travelled to Bath for the International Guitar Foundation (IGF) Summer School, immersing herself in workshops and performances alongside an international mix of players and world-class performers.

Her journey continued to the West Dean Classical Guitar Summer School, one of the UK’s most respected courses. Here, Mica found herself in the company of renowned teachers and fellow students passionate about pushing their playing to the next level. She relished the chance to learn and to share her own musical insights, especially around Latin American repertoire.

One of the standout moments of her trip came at Hawkwood College, where she took part in a masterclass with Craig Ogden, one of Britain’s best-loved guitarists. Not only did she learn from him, but she also had the thrill of sharing the stage with Craig in concert – an early career milestone that will surely stay with her forever.

The tour reached its peak with Mica’s solo full-length recital at St Mary’s Church, Yatton, presented by the Yatton Music Society in partnership with BCGS and the Wyvern Afinado Guitar Orchestra. In this beautiful village setting, she offered a programme that blended the Romantic elegance of Napoléon Coste, the rhythmic drive of Paulo Bellinati, the haunting lyricism of Leo Brouwer, and the unmistakable voice of Paraguay’s own Agustín Barrios Mangoré. It was a performance that left the audience spellbound – a perfect example of how a single guitar, in the hands of the right player, can fill a room with colour, emotion, and narrative.

The Repertoire

Across her various UK appearances, Mica’s repertoire showcased the breadth of her artistry. She moved seamlessly from demanding Romantic era pieces (e.g. Napoleon Coste – Fantasie Op.31 Le Depart) to Spanish classics such as Albéniz’s Sevilla, to Latin American gems including Barrios’s Julia Florida and La Catedral, to modern works like Solís’s Pasaje Abierto and Bellinati’s Jongo and Brouwer’s El Decameron Negro.

Her choices reflected not only her technical command but also her musical identity: a guitarist equally at home with the folk-infused rhythms of her homeland and the wider international guitar concert music. Listeners were treated to music that was both virtuosic and deeply personal – every phrase seemed to carry a story.

Building Bridges

What made this tour so special  was the way Mica connected with people – summer school students, teachers, audiences, and fellow performers. She brought with her a sense of curiosity and openness.

By the time she left, she had built friendships that stretched across continents. For those of us lucky enough to hear her, it was a reminder that music is more than sound: it’s a conversation, a bridge between cultures, and a celebration of our shared humanity.

Gratitude and Looking Forward

This visit wouldn’t have been possible without the generosity of the Bristol Classical Guitar Society, whose sponsorship ensured that Mica could travel and perform here. Special thanks also go to Helen and Vince Smith, who welcomed her into their home and supported her throughout her stay, with Vince also lending Mica a concert guitar for the duration of her trip. 

As Mica returns to Paraguay, she carries with her the experiences, connections, and memories of a truly remarkable summer. And for those of us in the UK, we carry the memory of her playing – sensitive, vibrant, and full of heart.

Her story is still being written, but one thing is certain: this is just the beginning. Next year, Mica will further her studies with a Masters programme in the US. We look forward to following Mica’s career and hearing her play again!

The programme reflected the depth and diversity of our society’s talent:

• Cari and Thorben performed 5 short South American pieces arranged by Yvon Rivoall, and Carolan’s Concert by Turlough Carolan (Arr. Gerald Garcia).
• Tim and Tony L gave a lively set: Scherzo Sobre la Sonrise de un Niño (Arr. Barbosa/Rojas), Fantasia for 2 Lutes (Thomas Robinson), and Tango No.2/Suite España (Albeniz).
• Katherine D played Canarios by Gaspar Sanz
• Paul H brought us Ernest Shand’s Il Pensieroso.
• Andy W closed the first half with Philippe Drogoz’s Prélude à la Mise à Mort – a hugely entertaining and theatrical percussion piece that, remarkably, calls for the use of 12 knitting needles!
• Lewis T played Antonio Lauro’s El Niño
• Vince and Tony M delivered Milan Tesar’s Suita Karrusel.
• Steve W presented Recitativo from Mompou’s Suite Compostelana.
• Tony E played his own evocative composition, Bu Farw Cathod.
• The BCGS Ensemble, under the direction of Francisco, delighted the audience with Valenciana (Arr. Helen James) and Ostinato from St Paul’s Suite by Gustav Holst (arr. Alan Rinehart).

Here are some photos from the night:

Here’s the programme and quiz from the night:

Each performance brought its own character, from Renaissance lute duets to contemporary compositions, from vibrant ensemble playing to intimate solo pieces. The range of styles – classical, romantic, folk-inspired, and modern – showcased just how much richness there is within the guitar repertoire.

A special thank you goes to Francisco for directing the ensemble with such energy and skill, and to all our members who contributed their music to the evening. The concert was not only a celebration of classical guitar but also of community – proof again of how much joy shared music-making can bring.

We wish everyone a wonderful summer, and we look forward to seeing you all again at our autumn meetings and events.

NOTE: Our next meeting will be September.

Introduction

It was a great privilege to welcome Cai Charles and Oliver Manning, two very talented and up-and-coming players, to give a performance through the IGF Young Artists’ Platform on 13 March 2025. Cai and Oliver have been performing as a duo since 2020, having met during their undergraduate studies at the Royal Welsh College of Music and Drama. Oliver Manning was selected by John Williams to become a Julian Bream Trust Scholar in 2023 to support his postgraduate studies at the Royal College of Music, London, and was winner of the John Mills Guitar Competition and also of the Orpheus Voice and Guitar Competition. Cai Charles was a winner of the Solo String Competition at the Wales National Eisteddfod. He also gave the UK premiere solo performance of the Dos Dalias concerto by Gerard Tamez during the World Harp Congress in St David’s Hall, Wales, in 2022. The duo has performed both in the UK and at the Maestros de la Guitarra concert series in Granada, Spain.

The IGF helps to launch the career of young guitarists as they embark on their concert careers, and by commissioning music written specifically for the players.

Programme (selections)

• Stephen Goss — Cocktail List (six of twelve miniatures): “Boulevardier”, “Negroni”, “Alabama Slammer”, “Vodka Martini”, “Vieux Carré”, “Manhattan”.
• Traditional Welsh (arr. Stephen Goss) — “David of the White Rock”, “Suo Gan”, “Hunting the Hare”.
• David John Roche — Quaver Dreams and Quaver Nightmares:
  I. Limited Chordal Universe; II. NotBach; III. Aggressive Bicycle Music. (World premiere of a BCGS-commissioned work in three movements.)
• Carlo Domeniconi — Fire Brigade on Ice from Circus Music.

Performance

Cai and Oliver exuded confidence as they started their performance with 6 out of the 12 miniature pieces of the Cocktail List by popular British Composer Stephen Goss. ( “Boulevardier”, “Negroni”, “Alabama Slammer”, “Vodka martini”, “Vieu Carré” and “Manhattan”). The selection gave the duo the opportunity to show their virtuosity, rapidly switching styles between Jazz, nostalgic, discordant, hints of James Bond, Blues and music reflecting a mood of New York. They definitely have good stage chemistry, know each others play so well and their technique and timing were immaculate.

The mood changed as the duo played a selection of well known Welsh folk songs arranged by Stephen Goss, including the much loved “David of the white Rock”, “Suo Gan” and “Hunting the Hare”. The performers played with great sensitivity to achieve a much more soulful, lilting and melancholic sound.

The Duo then performed a world premiere of their commissioned piece in 3 Movements by young composer David John Roche Quaver dreams and quaver nightmares I. Limited Chordal Universe II. NotBach and III. Aggressive Bicycle Music.The final piece brought out their strong sense of fun when they donned red noses to play Carlo Domeniconi’s Fire Brigade on Ice from Circus Music.

Closing Thoughts

The Wales Duo gave a memorable and technically brilliant performance and the pair clearly has a bright future ahead. You can follow them on Instagram at https://www.instagram.com/walesguitarduo/

• January: Celebrating the slow
• February: Renaissance
• March: TV, film, musical, video game themes (arranged or written for guitar)
• April: Dance (Music inspired by dance forms like Waltz, Tango, Pavane, Sarabande, Rumba, Fandango etc.)
• May: Not originally for guitar — transcriptions throughout the ages
• June: Own arrangement or composition (£100 prize!), or music from a living composer
• July: Members’ Summer Concert
• September: Cheesy classics. Shamelessly celebrate the perennial favourites which might have drawn you to the guitar in the first place e.g. Spanish Romance, Recuerdos, Cavatina, Asturias
• October: Personally Meaningful. Play something which has great personal meaning for you
• November: Something Old or Something New. Old repertoire you learnt long ago, or something you just learnt!
• December: Members’ Winter Concert

Remember you can see last year’s themes at Theme Nights for Solos in 2024

Artwork

Here’s a gallery of some AI-generated hero-artwork for each month: