1st Edition
John Williams: Changing the Culture of the Classical Guitar Performance, perception, education and construction
Introduction
The ‘Segovian’ narrative
John Williams and diversity
Aims
1 Andrés Segovia and John Williams
Segovia: career, tributes and reception
Other contributions to classical guitar culture in the early twentieth century
Attitudes to other musical styles
Teaching
Interpretation of the Segovia legacy
The king and the prince
Williams as a child prodigy
Contrasting approaches to popular and folk music styles
Williams and politics
Shifting attitudes about classical guitar
Conclusion
2 John Williams’ approach to the classical guitar
Following the pulse
Performance anxiety
Approach to J.S. Bach’s Chaconne in D minor
Contrasting approaches to Mauro Giuliani’s Guitar Concerto No. 1 in A major, Op. 30 (1808)
Ensemble playing and sight-reading
Amplification and other manipulations of the natural sound
‘Squeaks’
Guitar design
Williams and guitar teaching
Summary
3 ‘Putting the guitar out of classical music’
Cavatina and other film projects 1
Sky
Africa
Venezuela – El Diablo Suelto
John Williams and jazz
Summary
4 New directions in classical guitar
Sculthorpe
Takemitsu
Dodgson
Performing with Julian Bream
Richard Harvey
Williams’ own compositions
Programme choices
Leo Brouwer
Agustin Barrios Mangoré
Summary
Conclusion
Broadening the repertoire and appeal of the classical guitar
Critical perception
Summary
Bibliography
Index
Biography
Michael O'Toole is one of the leading figures in the Irish guitar scene today. He has given many memorable solo recitals and also contributed significantly to the development of the instrument as artistic director of both The Waltons International Guitar Festival and The Chord Ennis International Music Festival. Michael also currently has the honour of being a director of the prestigious Kilkenny Arts Festival. Michael holds a PhD from the DIT Conservatory of Music and Drama, and a master's degree in performance from University College Cork.
