Saturday 14th March 2026

Although Central and South America has furnished the world with a vast and celebrated output of music for the classical guitar, Jack Hancher’s recital was a rich and enjoyable reminder of the music that has grown up – and is still growing well, as this concert attests – within Europe. Jack’s ‘European’ concert drew upon both music originally composed for the guitar and music written for other instruments and transposed for the guitar.

He opened tonight’s recital with two movements from Johann Sebastian Bach’s Partita No. 1 in B minor, BWV 1002. Composed in 1720 for solo violin, each of the four movements of this piece contains in effect two parts, hence the ‘Double.’ The Double offers a musical elaboration of the chords used in each of the four movements. It was a beautiful way to open the concert. Jack’s Sarabande/Double was silky smooth, like flowing water, whereas his Bourree/Double was full of nimbleness and sparkle.

Composed 250 years after Bach’s Partita, the Englishman Malcolm Arnold’s Fantasy for Guitar offers a highly contrasting contemporary, but nonetheless, highly structured, piece of music. Commissioned by Julian Bream and written in 1971, Arnold not only wrote it for Bream, for his style of playing, but, as Arnold wasn’t a guitarist himself, it was created in close collaboration with the maestro. In introducing the piece, Jack described it as having a pyramidal structure, with the Fughetta acting as its top and centre movement, and the three movements either side mirroring each other. It is a wonderful guitaristic piece, with Jack really wringing out from his lovely instrument every ounce of full-bodied resonance in the opening and ending sections, as well as a floating, dreamy, meditative lightness of expression in the central Fughetta.  

Jack ended the first half of his recital with a piece by Laura Snowden. Placing it here in the program brought to the fore the complex web of relations involved in guitar history as well as musical composition: the Bream for whom Arnold composed his Fantasy was a direct mentor to Snowden, from whom Jack commissioned The Memory Garden. And as Jack explained, the inspiration behind Laura’s piece are her experiences of walks and talks and stories with her grandmothers as a child. In his performance of Laura’s beautiful piece of music, Jack very ably conjured up a feeling of loving togetherness, of play and innocence, of time and distance, and of circular repetition; as if the musical itself embodied the experience of having a cherished memory.   

The entire second half of Jack’s concert explored the work and interplay between 20th century French and Spanish composers, as well as the interplay between the piano and guitar. He opened with Debussy’s much cherished La Fille Aux Cheveux Lin (The girl with the flaxen hair). Composed in 1910 and forming part (Prelude No. 8) of Book 1 of Debussy’s significant 24 preludes for solo piano, La Fille Aux Cheveux Lin is a very beautiful piece of music. One would be forgiven for assuming that this piece was composed for the guitar: as Jack’s performance of it illustrated, his instrument’s superlative dynamical range, tonal colour graduations, and harmonical effects imbued Debussy’s music with magical charm.

Jack followed this with Spanish Falla’s 1920 tribute to Debussy (following his death in 1918). Homenaje pour Le Tombeau de Claude Debussy was Falla’s only piece written specifically for the guitar. Widely appreciated as a masterpiece for the guitar, it is a piece that interweaves French and Spanish musical elements, reflective of Falla’s residence, and musical development, in Paris from 1907-14. In his performance of this piece, Jack illustrated a wonderful boldness in his execution of the deep and resonant open chords, prior to returning to his exquisite gentleness of touch for its ending. Finishing this trio of pieces, Jack returned to one of Debussy’s compositions for piano, his earliest one in fact – from 1880 – providing for us a very robust, earthy, and lively recital of Danse Bohémienne.

Composed in 1912-13, Ravel’s À la Manière de Borodin (In the way of Borodin) is another offering from Jack that foregrounds the rich cross-fertilisation of composers, cultures, people and instruments – specifically the piano – in early 20th century Europe.  In collaboration with the Italian Alfredo Casella (1833-1947), the French composer Ravel created four musical pastiches for piano in the style of important contemporary composers. Alongside this one in the style of the Russian composer Borodin, Ravel also composed a pastiche in the style of Emmanuel Chabrier. At about one and a half minutes long, it’s a lovely miniature with a dense dance (waltz) -like feel, very suited to Jack’s ability to play in a beautifully understated way.

Also originally composed for piano is Catalonian Frederico Mompou’s Canción No. 6. It comes from his Cançons i Danses, a collection of 15 songs and dances composed across much of the composer’s lifetime, between 1918 and 1972. Like most of the collection, Cancion No. 6 was composed for piano, and was dedicated to the great Polish-American virtuoso Arthur Rubinstein. It is a hauntingly beautiful piece, and, in Jack’s very capable hands, is suited exceptionally well to the guitar. Further elaborating his web of European musical connections and interrelations, Jack ended his trio of pieces composed for piano with Spanish Albeniz’s  Capricho Catalán (one connection here being the celebration of the region of fellow composer Mompou’s Catalonia). 

Jack ended his recital with a masterpiece of 20th century music written for the guitar. Composed in 1933 (just three years prior to his death by firing squad execution), Antonio Jose’s Sonata for Guitar illustrates this composer’s unique voice. His work was highly admired in his lifetime, with Ravel (another French connection) commenting that Jose ‘will become the Spanish composer of our century’. The Sonata is a brilliantly crafted work with four well-defined movements unified by recurring harmonic-thematic elements, demanding a virtuosic ability by the performer. Jack rose to the occasion admirably, providing us with a tour de force at all levels. It was a wonderful way to end his fascinating program of European music.

Despite giving us so much already, Jack was generous enough to respond to the audience’s desire for an encore. Traversing one more time back over the Pyrenees, to France, and back to a work originally composed for piano, in 1893, Jack treated us to Erik Satie’s Gnossiennes No. 1. Being Satie’s most well known work, not only is it a very beautiful piece, and one that works wonderfully on the guitar, but it also has the understated, dreamy and mesmeric atmosphere that Jack is so brilliant at creating, as he showed us again and again in this uplifting recital.

Programme

Johann Sebastian Bach (1685–1750)
From BWV 1002

Sarabande/Double
Bourrée/Double

Malcolm Arnold (1921–2006)
Fantasy for Guitar

Prelude
Scherzo
Arietta I
Fughetta
Arietta II
March
Postlude

Laura Snowden (b. 1993)
The Memory Garden

Interval

Claude Debussy (1862–1918)
La Fille aux Cheveux de Lin

Manuel de Falla (1876–1946)
Homenaje pour Le Tombeau de Claude Debussy

Claude Debussy
Danse Bohémienne

Maurice Ravel (1875–1937)
À la Manière de Borodin

Federico Mompou (1893–1987)
Canción No. 6

Isaac Albéniz (1860–1909)
Capricho Catalán

Antonio José (1902–1936)
Sonata for Guitar

Allegro Moderato
Minuetto
Pavana Triste
Finale

Thursday 9th April 2026

It was a pleasure to witness the masterful performance of Gonçalo Maia Caetano at Bristol Classical Guitar Society on 9/04/2026,  as part of IGF’s Young Artist Platform, which he completed last year. 

He was born in Coimbra, Portugal and started playing guitar at the age of 7 years. 

After studying in the Academia de Musica in Pinhel with Prof Pedro Espino, he completed his BA in classical guitar at the Royal Academy of Music with Professor Michael Lewin and went on to complete an advanced Diploma. Whilst at the Royal Academy of Musica, he won the Blyth Watson Concerto prize. He has performed in many concerts across Portugal, Spain, Italy, Germany, Austria and the UK , and has won more than 10 international competitions. He was awarded the Prince’s Prize in 2023, and was the Musicians’ Company Award winner 2022/23. He has a passion for Jazz music and plays in the Phemo quartet as a bass player along with pianist Ashkan Layegh who wrote the commissioned piece we heard this evening. 

Gonçalo played a varied programme starting with Sylvius Leopold Weiss’ Overture in B-flat major.   He created bright, joyful and warm tones with his new Greg Smallman guitar. He played wonderfully clear harmonics and ligados. 

We were then treated to 4 movements by Toru Takamitsu under the title All in Twilight. The composer had been very influenced by a Paul Klee painting exhibited in New York under the same name, which inspired the composition . The first movement was discordant, and full of harmonics, the dark 2nd piece haunting with resonant base tones, the 3rd full of ascending and descending arpeggiated sequences which gave a dramatic feel and the 4th a slightly lighter and faster theme with more harmonics. 

Miguel Llobet’s Scherzo-Vals was obviously very demanding of his left hand, with its very rapid scale sequences and ligados and its playful cadences. 

In Augustin Barrios-Mangore’s Mazurka Appassionata, Gonçalo expertly mastered the essence of the mazurka, balancing the sensuous, ethereal song-like passages with moments of dramatic tension.

The IGF-commissioned piece (For Solo Guitar 2) by Ashkan Layegh was entirely suited to Gonçalo’s love of jazz, and explored the concept of “consistency through inconsistency”. The core of the music is built on 12 groove-based patterns which are treated as fragments which are regularly juxtaposed and reconfigured, successfully blurring the margins between classical music and jazz. 

The evening ended with a wonderful rendition of Sergio Assad’s Aquarelle, a movement of 3 pieces which reflects on the structure of Brazilian folk rhythms. Gonçalo showed his mastery of the technical difficulties of the pieces.  The 2nd movement, Valseana, named after one of Assad’s students, was the most recognisable, and the high energy and syncopated rhythms of Preludio e Toccatina brought the concert to a finale. 

I think that the BCGS would agree we have witnessed an incredible new talent with amazing lightness and speed of hand. We will hear a lot more of him in the future I’m sure!

Programme

Silvius Leopold Weiss (1687–1750)
Overture in B-flat major

Toru Takemitsu (1930–1996)
All in Twilight
I. —
II. Dark
III. —
IV. Slightly Fast

Miguel Llobet (1878–1938)
Scherzo-Vals

Agustín Barrios Mangoré (1885–1944)
Mazurka Appassionata

Ashkan Layegh (b. 1997)
For Solo Guitar 2 (IGF Commission, 2025)

Sérgio Assad (b. 1952)
Aquarelle
I. Divertimento
II. Valseana
III. Prelúdio e Toccatina

Thursday 12th March 2026

It was an honour and real treat for BCGS to host Johan at one of our Thursday, monthly meet-ups. His recital focussed upon music written for guitar in Victorian London during the middle of the 19th century – arguably the high point of classical guitar playing in the UK. Contrasting with the deep resonance and sustain of a modern (post-Torres) guitar, Johan’s use of an original 1850’s parlor guitar propelled us back in time to the Victorian Salon.

That Johan is a committed teacher of the guitar was evidenced in tonight’s concert by his mixture of playing, presenting and reflection. Through his presentation he conjured up a colourful image of the players, composers, as well as the guitar scene, of ‘Pratten’s London’. Interestingly, although all the composers cited in tonight’s concert lived for a time in England (indeed, Nuske, Pratten, and Regondi all died in London), they were all born outside of the UK.

The same is also true for Swedish born Johan.

Johan opened his recital with a brilliant rendition of the Russian-born Nuske’s Fantasia in C Major, Variations on ‘God Save the King’. From this, it was immediately apparent why Johan uses a guitar made well over 100 years ago: this little, relatively quiet, guitar is capable of producing an astonishing variety of colour and dynamism, an effect that exudes a unique character. This was amply illustrated in Nuske’s fantasia. Johan’s performance provided not only a masterclass of playing on a Victorian guitar, but also highlighted Nuske’s exceptional ability as a composer of music for the guitar.

Johan treated us next to a small selection from the vast compositional output of Catharina Pratten. Moving with her family to England when she was a small child, Catharina was the daughter of the German guitarist and music teacher Ferdinand Pelzer, with herself becoming a leading figure in the guitar world. As a player, not only did she start touring at the incredibly young age of 8 years old, composed over 250 pieces for guitar and voice, and taught widely – including to the daughters of Queen Victoria – she also wrote highly respected teaching methods. Providing us with printed excerpts from Pratten’s method, Johan commented on their remarkable level of detail. In the three pieces he played, Johan very ably demonstrated all of the techniques taught by Pratten: the tonal effects of moving the right hand position in the melancholic A Lost Love; left hand slides, the use of tremolo, harmonics and rasgueado in Forgotten; and the harmonizing of voice and guitar in Twilight. Taken together, these pieces, played by Johan with impressive skill and style, provided striking evidence of how and why the young virtuoso Catherina Pelzer developed into the towering Grande Dame of the Victorian classical guitar, Catherina Pratten.

The next piece Johan played was by the Spaniard Huerta. Huerta was a celebrated guitarist, nicknamed ‘the Paganini of the guitar’ and referred to by Berlioz as one of the three best musicians of his time. Lola Montès was a wonderful dance-like, driven piece, with a bouncy bass line, full of Spanish color, augmented by lavish use of tremolo, arpeggio, pizzicato, and rasgueado.

Johan ended his recital with the virtuosic classic of 19th Century guitar repertoire, Introduction et Caprice, by the Swiss-born Giulio Regondi. Two years Pratten’s senior, like her, Regondi was also a child prodigy. However, his youthful concertizing earned him the great honour of having a
piece of music (op. 46) dedicated to him by no less than Fernando Sor. As in the other offerings from Johan tonight, he performed this very challenging piece with seeming ease, along with huge verve and charm. To hear this wonderful piece performed with such skill and musicality on an original guitar – dating from the period during which it was composed – felt like a privilege and a dreamy time-travel back to a very high point in the history of the classical guitar.

Programme

Johann Abraham Nüske (1796-1865)
Fantasia in C Major: Variations on ‘God Save the King’

Catharina Pratten (1824-1895)
A Lost Love
Forgotten
Twilight

Francisco Trinidad Huerta (1800-1874)
Lola Montès; Boléro Favori et Original Op. 54

Giulio Regondi (1822-1872)
Introduction et Caprice Op. 23

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.

Felixstowe Classical Guitar Festival

Dates: 12–13 September 2026
Location: Palm Court & Conservatory, Felixstowe, Suffolk, England
Website: https://felixstoweclassicalguitarfestival.co.uk/

Felixstowe Classical Guitar Festival (12–13 September 2026, Felixstowe, Suffolk) – A new addition to the UK classical guitar calendar, the Felixstowe Classical Guitar Festival brings together internationally recognised performers, emerging artists, luthiers, composers and enthusiasts for a weekend of concerts, masterclasses, lectures and exhibitions. Concerts in the Palm Court feature Matthew McAllister, Carlos Bonell, The Miyabi Duo, Alexandra Whittingham, Mark Harris, Rosie Bennet, Zoe Barnett and Laura Snowden. Festival activities include a masterclass with Alexandra Whittingham, luthiery lectures hosted by James Lister, a luthiery competition, a composition lecture by Stephen Goss, composition competition results, a patron showcase concert and an exhibition of instruments by leading UK makers. Full details and tickets are available via the festival website.

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!

Saturday 15th November 2025

Dressed in smart black jacket and trousers, black polo-neck sweater, polished shoes, and with no introduction other than a courteous bow, Ian Watt opened this recital with the clear trebles and ringing basses of Villa Lobos’s Prelude No. 2. It was immediately impressed upon the audience that here was an extremely capable musician with a confident precision (his eyes were mostly closed) and clarity of sound. Sections 1 and 3 of its ABA structure were played with a charm fitting to ‘the Rascal of Rio’ referred to in its subtitle; yet its middle section had a rhythmic intensity appropriate to its war-dance origins. Ian played Prelude No. 3 with an equal yet different intensity, this time one fitting to the Baroque grandeur of the soundworld of Bach, to whom Villa Lobos dedicated this piece. This was created via the use of slow, deep resonating chords and by ending musical phrases with a strong vibrato. Prelude No. 3 ended with a mesmerising gentle touch that returned us to silence; followed by an enthusiastic applause.

Staying in South America for the whole of the first half of the recital, Ian followed Villa-Lobos’s Preludes with a selection of pieces by the Paraguayan composer, Augustin Barrios. Prior to playing, Ian introduced himself as well as the next composer, referencing Barrios’s flamboyant character and self-conscious aura of mysticism. Ian grouped the first three pieces together, which worked very well, moving from the colorful and highly melodic Madrigal-Gavota; to a yearning, introspective Prelude in C minor, to a technically brilliant Contemplacion. Following these, he introduced his next two pieces by Barrios, both of which are very highly acclaimed both within and beyond the guitar world: the Peruvian waltz, Vals No. 3, and the romantic barcarolle, Julia Florida. Both of these pieces are respected as masterworks of composition for the guitar, yet also offering much interpretational latitude. Ian’s renditions were infused with musical virtuosity and emotional depth. Taken together, these five pieces by Barrios illustrated not only Ian Watt’s mastery of the guitar, but also remind us of the incredible sophistication, range, and quality of Barrios’s compositional output.

Ian ended the first half of this recital with a masterpiece and staple of the classical guitar repertoire: Barrios’s La Catedral. Although it’s hard to imagine La Catedral without its deeply nostalgic and melancholic opening movement, introducing it Ian explained how it was originally published as a two movement piece in 1921, with a third (the initial) movement being added in 1938. I never tire of hearing La Catedral. It is simply stunning, with each player offering it in a slightly different hue. Ian’s rendition was powerfully muscular, robust and virtuosic, with a grandeur that evokes both the Montevideo Cathedral which inspired Barrios in the conception of this piece, as well as the intense, colourful polyphony of the music of his hero, JS Bach.

Opening the second half of the recital, Ian talked about the work of the late John Mcleod, a composer with whom Ian (a fellow Scot) was personally acquainted. Although Mcleod started composing for the guitar only towards the end of his life, his contribution is distinctive and notable. Ian’s performance of Three Mythical Pieces was a real treat: fascinating music that seems to fit Ian’s style of playing perfectly. It’s astonishing that Mcleod was not a guitarist – or maybe it’s due to Ian’s expressive abilities – as these very contemporary, atonal pieces were multi-layered with colour, texture, and technical sophistication, inspiring all sorts of sounds and effects from the guitar. Moving from the rich, resonating harp-like quality in Amphion’s Lyre, to the percussive, insistent, jarring discords of Salamander, to the mysterious, searching quality of Ariadne’s Thread, this was an intense and very pleasurable guitaristic experience.

Guiding us out from Mcleod’s mythical sound world, Ian’s next offering took us back to the centre of modern classical music, by way of Debussy’s much cherished Prelude No. 8, The girl with the flaxen hair. Composed in 1910 and forming part of book 1 of Debussy’s significant 24 preludes for solo piano, Ian Watt’s transcription and playing of this piece not only foregrounds the music’s very charming and innocent beauty, but also the guitar’s ability to render these qualities through its distinctive dynamical range, tonal colour graduations, and harmonic effects. Ian played Prelude No. 8 with much gentleness and care, allowing the music to breathe and radiate. His next piece, also from book 1 of Debussy’s 24 Preludes, Prelude No. 12, Minstrels (transcribed by Castelnuovo-Tadesco), had a very different feel and effect: a more tightly-knit, choppy, almost claustrophobic, rhythm and melody; but nevertheless, it was a piece that changed and developed, or even experimented, in a fantasia-like way. Taken together, these two pieces from Debussy’s 24 preludes, provided a glimpse of this very influential composer’s brilliantly poetic, variable, sketch-like style. They also aptly demonstrated how the enormous versatility of the guitar can render his music with aplomb.

Mario Castelnuovo-Tedesco was very prolific. Writing over 100 pieces for the guitar alone, he is celebrated as a great composer for this instrument. His Capriccio Diabolico (“diabolical caprice”) is a homage to the legendary violinist and composer, Niccolo Paganini. Fittingly, it seems to be a devilishly difficult piece to play, with virtuosic mastery of the guitar being mandatory. Ian played Capriccio Diabolico with incredible agility, yet never lost sight of musicality. Indeed, alongside its frantic passages, this piece has grace and beauty. It was a phenomenal performance, amply rewarded by loud applause from an uplifted audience.

Saving us from the allure of Castelnuovo-Tedesco’s devil music, Ian transported us to the spacious wilderness of the Sergio-Leone’s wild west, via his transcription of Ennio Morricone’s film score C’era una Volta il West (Once Upon a Time in the West). Its elegiac, heart-warming nature was heightened by Ian’s gentle tempo and floating harmonics. Ian ended this recital with his own transcription of Isaac Albeniz’s Spanish dance, Seguidillas. It was played with a repeated, conspicuously jaunty rhythm, interspersed with pleasant chord progressions and pleasing gradations of tonal colour. With its sparkling harmonics towards the end, the effect of this final piece in the concert was to leave the listener with a smile on their face.

Ian indulged the audience’s sustained-applause request for an encore with another Spanish dance, composed by Albeniz’s contemporary Enrique Granados. Played with the same skillful musicality as Seguidillas, Ian’s performance of Granados’s Danza No. 5 only served to add further, contented satiety to listener’s fulfilment, perhaps inspiring a skip in their step upon departure from the concert venue.

Programme

Heitor Villa-Lobos (1887-1959)
Cinq Preludes
Prelude No. 2 in E major – “Melodia capadócia”
Prelude No. 3 in A minor – “Homenagem a Bach”

Agustín Barrios Mangoré (1885-1944)
Madrigal – Gavota
Prelude in C minor
Contemplación
Vals No. 3, Op. 8
Julia Florida
La Catedral
i. Preludio (Saudade)
ii. Andante Religioso
iii. Allegro Solemne

John McLeod (1934-2022)
Three Mythical Pieces
Amphion’s Lyre
Salamander
Ariadne’s Thread

Interval

Claude Debussy (1862-1918)
Préludes, Book I
No. 8 “La fille aux cheveux de lin” (The girl with the flaxen hair) (tr.: Watt)
No. 12- “Minstrels” (tr.: Castelnuovo-Tedesco)

Mario Castelnuovo-Tedesco (1895-1968)
Capriccio Diabolico (Omaggio a Paganini), Op. 85

Ennio Morricone (1928-2020)
C’era una Volta il West (tr.: Watt)

Isaac Albéniz (1860-1909)
Seguidillas, Op. 232/5 (tr.: Watt)

Tony Lewis / Tim Rigley

• Nocturne Op. 9 No. 2 — Frédéric Chopin (arr. K. Krantz)
• Canción (Quinta Campaña) — Kircher / Montes
• Milonga al sur a Piazzolla — Montes

Andy / Vince

• Libertango — Astor Piazzolla (arr. Warn)

Andy Warn

• White Christmas — Irving Berlin (arr. Warn)

Paul Hapney

• Prelude No. 4 — Heitor Villa-Lobos

Alan Montague

• Bourrée from the Third Cello Suite — J. S. Bach

Lewis Tredinnick

• Mazurka-Choro — Heitor Villa-Lobos

Andy Fagan

• El Noi de la Mare — Miguel Llobet

Martin Allsop

• Precious Days — Own Composition

Tony Eastwood / Paul Munneke

• Dacw Dadi Mynd i’r Ffair — Welsh Traditional (arr. Eastwood)

— 20 Minute Intermission —

Wine, juice, and water available. Donations appreciated.

Tony Mulholland / Vince

• Two Duets for Guitar and Terz — J. K. Mertz

Steve Watson

• Three Preludes Nos. 1, 8, and 7 — Manuel Ponce

Thorben / Cari

• Chansons et Danses d’Amérique Latine — arr. Yvon Rivoal
  Seven short pieces from countries across the continent

Thorben Louw

• No. 2 Allegro
• La guitarra hace llorar a los sueños
  from Evocaciones — Anton García

BCGS Ensemble

• Three Views from Nothing — Will Frampton
• Farewell to Stromness — Peter Maxwell Davies (arr. Helen James)

Here are some photos from the night!

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

[events_by_date year=”2025″ limit=”-1″]

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