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New area programs amplify a rich — if low-key — tradition
by Anne Midgette
In 1920, musical life in Washing- ton was spotty. There wasn’t an or- chestra, an opera company, a prop- er concert hall. But when a Greek immigrant named Sophocles Pa- pas settled here, there was, soon enough, guitar. Papas, self-taught himself, be- gan teaching others. An initial ra-
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dio performance led to curiosity about the elegant sound he got from what people tended to think of as a populist instrument, lead- ing to more performances and more students. He opened a guitar shop, orga- nized a guitar orchestra, cultivated a friendship with Andrés Segovia and continued spreading the gui- tar gospel. Eventually Washington emerged as something of a mecca for young guitarists around the country. In the 1960s, American University became the first aca- demic institution in the country to offer a classical guitar major; Pa- pas, of course, was among its teachers. Today, musical life in Washing- ton is burgeoning, and the guitar, this season, is once again taking pride of place. Washington already boasts the Marlow Guitar Series, which starts its 17th season this weekend with a recital by the Chi- nese guitarist Xuefei Yang. The Uruguayan-born guitar soloist Berta Rojas is gearing up for the fifth annual Ibero-American Gui- tar Festival here in June, which she organizes. And Strathmore is getting in on
the act with an ambitious season- long focus on the guitar that at- tempts to display the instrument in a number of its myriad stylistic forms, from new music to blue- grass to jazz. It’s the largest festival Strathmore has done yet, running
ONE OF THE YEAR’S BEST FILMS.”
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KLMNO
SUNDAY, OCTOBER 24, 2010
DAVID S. PAPAS
SPREADING THE WORD: Thanks to classical guitar teacher Sophocles Papas, D.C. emerged as a center for young guitarists.
from September into May. But holding the spotlight on the guitar can be difficult. It tends to waver. Is “guitar” the classical in- strument espoused by Papas, with nylon strings; or the electric guitar that’s a staple of most rock bands; or the Chinese pipa, or the early music lute? And is a “guitar scene” in Washington a solid tradition — the late Papas’s store, the Guitar Shop, is still going strong on Con- necticut Avenue — or simply a ran- dom assortment of isolated practi- tioners who all happen to be in proximity? The classical guitarists who run
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the Marlow series, including the series’s director,Tim Healy, are ar- tistic heirs of Papas, but have little in common with, say, Chuck Brown, the “godfather of go-go,” one of the District’s most famous guitarists. Tom Cole, an editor at NPR, has been hosting “G Strings,” a weekly program focusing on guitar, on Washington’s Pacifica Radio for more than 30 years. “I think all guitarists feel a certain kinship,” he says, “but they’re also a very odd breed.” Shelley Brown, Strathmore’s vice president of programming, found that assembling a year-long examination of guitar was “much more difficult” than the piano fes- tival that Strathmore did last year. “The history is much less docu- mented” than the piano, she says, “and more disparate, and maybe more interesting.” Trying to do jus- tice to the guitar’s rich history in a single season was, she says, “hum- bling.”
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“I underestimated how much interesting content there was,” she adds. “I could have done three times the amount of programming and educational programs that I did.” It’s notable that she didn’t pick a local focus. There are certainly lo- cal elements in the festival — for instance, the world premiere in May of a new piece by Aaron Grad, an area composer-guitarist who recently moved to Washington state. But Washington’s self-aware- ness as a center of guitar seems to have waned — although there are many practitioners who keep it ac- tive. The Marlow series does carry the torch for D.C. guitar traditions to some extent — at least in that its namesake, John Marlow, a mem- ber of the Washington Guitar Quintet and the AU faculty, was a Papas student. The Marlow series also continues to focus mainly on the tradition Papas espoused — though Papas wasn’t too partic- ular about who or what he taught, from banjo to bouzouki. (Accord- ing to another former student, Re- gis Ferruzza, he even once gave ac- cordion lessons, keeping a couple of weeks ahead of his pupil with the aid of a practice book.) Papas’s students certainly pur- sued a range of interests beyond the classical spectrum. One of the most eminent was Charlie Byrd, the jazz guitarist (also a member of the Washington Guitar Quintet) who helped popularize bossa nova in this country and whose club, Charlie’s Georgetown, was for a time a leading showcase for guitar in the Washington area. If awareness of this tradition has dwindled, it may be because classical guitar in general has lost a wee bit of its luster. David Spel- man, head of the New York Guitar Festival, points to the period in the 1960s and ’70s when stars like Se- govia, Julian Bream, Christopher Parkening and John Williams were making waves: “There are not too many players today who have that prominence in the classi- cal music world,” Spelman says. Spelman grew up in Washing- ton; it was Cole’s radio show, rath- er than any local artists or classical traditions, that helped shape him into a guitar fanatic, and he en- tered through the jazz, rather than
the classical, door. Like many young D.C. guitarists, he was drawn to the guitar program at the Peabody Conservatory, one of the country’s leaders (where Manuel Barrueco now teaches). AU’s pro- gram wasn’t on his radar. If Papas’s influence lives on in
Washington, it’s in a de facto tradi- tion of guitar education. For countless kids, guitar is one of the most approachable ways into mu- sic. This is fostered not only through university-level programs like the one at AU, or community music schools like the Levine School of Music, the Washington Conservatory and the Potomac Arts Academy at George Mason University (which hosts an annual Guitar Rendezvous headed by Lar- ry Snitzler, another Washington Guitar Quartet alum), or competi- tions like the Marlow’s Beatty Mu- sic Scholarship Competition for guitarists 18 and under. Increas- ingly, it’s in the schools them- selves. In Fairfax County guitar is an in-
tegral part of the high school cur- riculum — thanks to a musician named Glen McCarthy who, in 1976, tired of life as a touring band member, settled down to teach and discussed with the principal
“I think all guitarists feel a certain kinship, but they’re also a very odd
breed.” — Tom Cole, host of “G-Strings” on Pacifica Radio
at Robinson High School what courses he might offer. Piano was ruled out: too expensive. Guitar seemed about right. McCarthy’s program has since blossomed into one of the leading guitar programs in the country. By now, there are guitar ensem- bles in all of Fairfax County’s high schools, and in many schools in Loudoun and Prince George’s County as well. Every spring, the advanced guitar classes meet for a guitar festival; one year, a high school group was featured on the Marlow series. The program has won awards for innovation, and McCarthy, now retired, has be- come a fixture on the guitar educa- tion scene — teaching, among oth- er things, a required class for all music education majors at GMU. At a time when musical tradi- tions seem to be foundering in many areas, the guitar may remain what it was when Sophocles Papas arrived in Washington — a way to stimulate the community’s musi- cal life.
midgettea@washpost.com
Strathmore’s Guitar Festival Upcoming performances include the folk duo Cathy Fink and Marcy Marxer on Oct. 30, the Bang on a Can All-Stars in an all-Steve Reich program on Nov. 11, the eclectic group Punch Brothers with mandolin player Chris Thile on Nov. 12,
Kris Kristofferson in a recital of solo voice and guitar on Nov. 13, and the guitarist Ana Vidovic with flutist Anastasia
Petanova on Nov. 18. More information is at
strathmore.org.
The Marlow Guitar Series continues on Nov. 13 with a recital by the Chilean guitarist Carlos Perez and on Jan. 29 with the Trio Bolero; concerts continue through April 16, when Berta Rojas will give a solo recital. Information at
marlowguitar.org.
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