On the evening of November 19, Simon Powis played guitar concert at Centennial Hall multi-purpose hall, takes audiences on a period of quiet elegance wonderful musical journey.
Simon Powis is a talented soloist, chamber musician and classical guitar groundbreaking performer. Holding his guitar onto the stage, very briefly say hello, and began playing – wonderful skilled in stark contrast to the sound of the piano with his short few words, the original guitar sound is more loud, more wonderful voice. ”
Simon Powis guitar concerts open musical journey. He first play is the the sweet light more than the United States, the famous Italian composer Nick Scarlatti creation “D Sonata K.491”. The cheerful tone feels like ride a light gallop on country roads foal, against the wind and the sun, swing repeated melody to make people feel stable and comfortable.Milan Kundera once said, “repeat is happiness.” Very appropriate expression for the music. The flexible switching more major audience a taste of Simon superb skill of playing skills.
The creation of the next two tunes by the outstanding Spanish composer Isaac Albeniz, he is of Spanish folk music introduced to Europe as well as the world audience a Spanish native composer, his music also by the Andalusian strongly influenced by folk music. Simon the night playing “Cordoba” and “Granada” is the name of two cities in Andalusia, southern Spain. Simon brief to Cordoba is a small city in the Andalusia region of southern Spain, the city has many beautiful tower, various bells hanging tower, it is a very strong religious atmosphere in the city, Cordoba is its specific description.
Subsequently, Simon seriously playing together, the beginning of the song is for the audience of the tower ringtones imitation, vivid, notes, outlines a Cheung Ning and mysterious town. When the audience is imagined myself walking one, the music suddenly ups and downs, like Cordoba had also had no noble glory – it was once the largest city in Western Europe in the clear!The music finally quiet, it was like the outline of the landscape of the city, and like recounting the history of the city.”Granada” is full of Mediterranean style, the sound of the piano for the audience to feel the sea breeze, beach, licking the feet of the waves … tweedle show two cities interpreting the world, with music, Simon wonderful playing audience for praise.
Simon Powis introduces viewers track background. The second half Simon play is a series of South American music. In the first group of five of the songs, “Cuba skit, Simon played the guitar even played the Dayton perfect strike the strings, strumming, hook string vibrato techniques into one, to win the audience bursts applause and cheers.
After authored by Brazilian composer Villa Lobos played “Prelude No. 1” and a group of Argentine tango music is actually an anti usual elegant and gentle – the audience could have been ready to feel the passion and unrestrained, did not expect Simon select and play the songs actually allow people to savor the quiet elegance of Latin America.
Simon guitar notes coming to a stop, the audience could not cease warm applause, accept their hospitality, Simon two encores played for everyone “happiness” and “Angel milonga”, the audience food for thought, have fun and go.
Photography: Wei Lai-shun
Editor: Zhang Jue
Edin Karamazov, with Simon Powis – Adelaide International Guitar Festival 2012
Reviewed Saturday 11th August 2012
Simon Powis was not, as some of the other supporting artists seem to
have been, a warm up act for the main artist. He is a great performer
in his own right, and a fascinating counterpoint to Edin Karamazov. He
opened with a most unusual piece, Benjamin Verdery’s Satyagraha,
adapted from an Indian raga and occasionally incorporating short
passages of that raga, even sounding, during those sections, quite
like a sitar, thanks to his enviable performance skills.
On more familiar ground, he then played Isaac Albéniz’s Córdoba, Op.
232, no.4, his musical portrait of the Andalusian city, with its
opening reference to the Great Mosque of Córdoba. His technique is
marvellous but, more importantly, he captured the Romantic mood of the
piece beautifully. A technically challenging piece from Armand Coeck,
Constellations, brought us to South America again, with Baden Powell’s
Samba em Preludio and Antonio Carlos Jobim’s Felicidade. That was a
very good choice to close his part of the concert, both as a chance
for us to see how much warmth he injects, and the dynamic range that
he employs in these pieces, giving them a distinct interpretation of
Arts Global in New York
Reviewed in the Huffington Post – 10th October 2011
I was particularly impressed with Simon’s mastery of the classical guitar. Simon displayed outstanding sensitivity and a musical maturity that was worthy of any professional concert platform. I know we will be hearing much more from this young man, who now resides in New York.
Adelaide International Guitar Festival
Reviewed Sunday 12th August 2012
This concert featured the Australian String Quartet and four of the
marvellous guitarists who have appeared in this Festival, taking it in
turns to join with the Quartet to play a number of old and new string
quintets. The Quartet has been a part of the music scene since 1985
and have performed around the world to critical acclaim, as well as
being the Quartet in residence at the University of Adelaide. Kristian
Winther and Anne Horton, violins, Stephen King, viola, and Rachel
Johnston, cello, are the current members of the Quartet, with Winther
and King joining the group this year. They have established themselves
as one of the finest quartets and their performance of the works in
this programme demonstrated why they are in demand.
Slava Grigoryan was first to join the Quartet, for a performance of
Mario Castelnuovo-Tedesco’s Guitar Quintet, Op. 143 from 1950. This is
a beautifully lyrical piece in which there is a superb integration of
the guitar part. Most of the major guitarists have recorded this work,
such is its appeal. Grigoryan’s exceptionally expressive playing was a
delight and made this one of the better performances, by far, of this
work. He and the Quartet seemed to be thinking as one in a beautifully
balanced performance. No wonder he was chosen to run this Festival.
Simon Powis chose Australian composer Phillip Houghton’s In Amber for
his collaboration with the Quartet. As one might expect, this work
calls for a few of the more modern playing techniques from the Quartet
to express the composer’s ideas. Complex harmonic ideas abound in the
three movements, and some rather angular melody lines. Houghton makes
good use of silences, too, for heightened dramatic effect. There are
also some very melodic passages in the work, as well as a chance for
the viola to shine here and there. Powis again demonstrated his great
technical ability, as well as his musicality, in this challenging
Ana Vidovic opened the second half by repeating her solo performance
of Asturias, by Isaac Albéniz, that was a very popular piece in her
own concert, then joined with the Quartet to play the final movement,
Fandango, from Luigi Boccherini’s 1788 arrangement of one of his
earlier works, the Guitar Quintet No. 4 in D Major, G. 448. Boccherini
wrote a copious collection of string quartets and quintets, of one
sort or another, and his cello parts are well worth listening out for
as he was, of course, a cellist as well as a composer. Vidovic’s
delicate touch suited the piece perfectly, and balanced just as well
with the excellent work of the Quartet.
Edin Karamazov then turned to the Beatles, playing seven of their best
known numbers, arranged by Cuban composer Leo Brouwer into a suite he
calls simply, Quintetto. Although arranged for a Guitar Quintet, this
was no dull rendition with all of the life drained from it, in an
attempt to turn it into something very serious. All of the original
feeling of the tunes was there, brought out clearly and joyously by
Karamazov. The playing order actually differed from that in the
programme, beginning with the poignant, She’s Leaving Home. There were
the well known songs, such as Got to Get You Into My Life, Eleanor
Rigby, and Yesterday, as well as those less often heard such as She’s
Leaving Home, and the aforementioned opening song. A sensitive
approach to Penny Lane ended the performance and the concert.
Karamazov captured the Beatles youthfulness and exuberance
marvellously in these terrific arrangements.
Reviewed by Barry Lenny, Arts Editor, Glam Adelaide.