Everything is “global” these days, and it is hard to think of a more over-used word than that in reference to a cultural event. Yet this centrepiece of the Adelaide Guitar Festival did live up to that theme, and that was mainly on account of two genuinely outstanding guitarists: Chrystian Dozza from Brazil and Xuefei Yang from China.
Yang has aroused a lot of interest this year because she is regularly listed among the top classical guitarists in the world. This was her first visit to Adelaide – which right now (if you hadn’t noticed) is centre of the guitar universe.
There are absolutely no flies on Dozza, either. Indeed, if there were rankings for the most original classical guitarists, he’d be right up there.
After the dust had settled on an opening set by the 75-member-strong Adelaide Guitar Festival Orchestra – more about them anon – it was first to Dozza.
He is so inventively original that there is little or nothing that corresponds to guitar playing, classical or otherwise, as one might be used to hearing. Many others do looping using a foot controller, and Dozza is a wizard at improvising against himself to create sonic layers of ever-expanding dimension – not loud so much as dazzlingly complex. But it is also the power, timing and colour of his playing that impresses.
Dozza began his “World Suite for Guitar and Looping” with a long, deeply Latinate improvisation named “Brazyl”. He strikes downbeats with a jolt of electricity and lets the sound hang tantalisingly to make you imagine you were at one of Rio’s vibrant music clubs.
Two movements of contrasting speed, “Britanya” and “Australia”, added to the strong, colourful impression Dozza makes. In gestural conviction he has few equals, and his range of tonal colour is way beyond ordinary as well. A nod to his host country in the last piece was well appreciated.
Chrystian Dozza performing at the Adelaide Guitar Festival. Photo: Claudio Raschella
Then it was over to Yang. She is an artist of opposite sensibility and undeniable stature. Her playing in arrangements she has made herself of ancient Chinese folksongs was more contained and moved in smooth waves. She excels in conveying a larger sense of the music, placing detail in its context and creating a beautiful flow over the whole span.
“Moonlit Night on the Spring River” and “White Snow in the Spring Sunlight” are modest and perhaps sentimental little pieces, but they are magnified into greatness in her hands. Although they were originally created for traditional Chinese instruments like the pipa, Yang conveyed their characteristic flourishes and sliding effects on guitar with much realism.
Then there is her technique. Yang excels in precision. Ross Edwards’ delicate “Melbourne Arioso: for solo guitar” with harmonics (written expressly for her by the composer) and John Williams’ tremolo-laden “When the Birds Return” were exquisite.
Yang plays so beautifully. The only disappointment was that there was nothing technically that pushed her – but then perhaps nothing does.
The Adelaide Guitar Festival Orchestra performed under the direction of Paul Svoboda. Photo: Claudio Raschella
The idea of 75 guitars all playing together on stage could fill one with trepidation. However, members of the Adelaide Guitar Festival Orchestra (AGFO), incorporating the Aurora Guitar Ensemble from Brisbane and dozens of local enthusiasts, have been performing together at this festival since 2014, and they are have now acquired seriously decent chops.
Those curious to know more might want to read Edmund Black’s review of AGFO’s Winter School in July at which they trialled many of the pieces.
Paul Svoboda is a master at directing them. In his arrangements of Queen’s “Crazy Little Thing Called Love”, Cy Coleman’s “The Rhythm of Life”, the traditional Irish tune “The Green Glens of Gweedor” and more, the ensemble held together well, the rhythm was buoyant and spirited, and the enthusiasm palpable. Bravo to them all.
That left the Grigoryan Brothers to play a set from their new album, Armistad. This was really wonderful music, indeed the most compositionally satisfying of the evening. Pieces by Luke Howard, Nat Bartsch, Wolfgang Muthspiel and Dominic Miller (Sting’s long-time guitarist) each had something to say. The performances were a little under-prepared, but brothers Slava and Leonard know how to deliver the goods and won everyone over with their musicianship.
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Cheerily compered by Megan Burslem, this concert seemed to burst at the seams with interest – and was all the better for it.
Travel Guide: A Global Gathering was performed on Friday at Her Majesty’s Theatre as part of the 2024 Adelaide Guitar Festival, which continues until September 29.
Read more Guitar Festival stories and reviews here.
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