Kevin Manderville began his classical guitar studies at the age of eighteen with James Chandler. He received the Bachelor of Music degree from Stetson University, where he studied with Stephen Robinson. He also received the Master of Music and Doctor of Music degrees from Florida State University under the tutelage of renowned pedagogue Bruce Holzman. In addition, Mr. Manderville has also studied in masterclasses with some of today’s most prominent guitarists, including Sergio and Odair Assad, Manuel Barrueco, Eliot Fisk, Roland Dyens, and Oscar Ghiglia.
Kevin Manderville has won prizes in several international competitions, including first prize at the Concours International de Guitare de Lachine, second prize at the Rantucci International Guitar Competition and consecutive top prizes at the Columbus Guitar Symposium Competition. In 2006, he was a recipient of the Florida Artist Enhancement Grant.
His performances as a solo recitalist, chamber musician, and former member of the Tantalus Quartet have taken him throughout North America and Europe, including appearances in such major cities as New York, Chicago, Los Angeles, Minneapolis, Montreal, Cologne, New Orleans, Atlanta, Miami, and Orlando. He has also performed at major venues, concert series and festivals including Weill Recital Hall at Carnegie Hall, the Guitar Foundation of America International Convention, the Iserlohn International Guitar Symposium, the 2nd Acadia International Guitar Festival, the Hamilton International Guitar Festival, the Columbus State University Guitar Symposium, the New York Guitar Seminar, and the Lachine International Music Festival. Committed to the performance of new music, he has premiered several works including those written for him. His debut CD, titled Through the Centuries, was released in the fall of 2010 on Clear Note.
A dedicated teacher, Dr. Manderville served as a teaching assistant at Florida State University for three years. He has also been on the faculty of Troy University, Thomas University, Tallahassee Community College, Bainbridge College and the Stetson University Community School of Music. While living in New York, he taught at Medgar Evers College, the Amadeus Conservatory of Music, and initiated an after-school guitar program for Manhattan Youth. Kevin Manderville currently resides in Montgomery, AL, where he directs the classical guitar program at Carver Elementary Arts Magnet School and is on the faculty at Huntingdon College.
Keith Calmes performance credits include a Carnegie Hall recital debut as Winner of the Artists International Competition, concerti with the Monmouth Symphony, a performance with Maestro Carlos Barbosa-Lima and many concerts and recordings with flautist Marjorie Koharski. Keith’s passion for new music has led the following composers to write for him: Roger Aldridge, Will Ayton, Timothy Broege, Frank Campo, Ruben Delgado, Jurg Kindle, Chiel Meijering, Jean-Maurice Mourat, Maximo Diego Pujol, Stepan Rak, Kevin Siegfried and Jim Scully. Keith has several solo recordings and duo recordings with Chiel Meijering available at CD Baby and iTunes.
Keith earned degrees in Classical Guitar Performance from California State University Northridge, The Juilliard School, and the University of Southern California. He also studied at Berklee College of Music in Boston and Musica en Compostela in Spain. Additional studies with Leo Brouwer, Carlos Barbosa-Lima, Eliot Fisk and Oscar Ghiglia were significantly formative experiences.
Artist Website: http://www.keithcalmes.com
October 18. 2018
Settlement Music School
3745 Clarendon Avenue
class and performance
Solo and with Luke Honer, guitar
October 20, 2018
Wilmington Classical Guitar Society
Presbyterian Church of the Covenenant
503 Duncon Road
Wilmington, DE 19809
Solo (Opening for Thomas Viloteau)
Jill: Well I know for instance, I interviewed Wu Man when she was here. She had a piece written for her by Lou Harrison who is an American composer and we do play on the station a piece called Yellow River Concerto which is a kind of westernized Chinese version of a rather impressive piano concerto with an impressive pipa part in it and I must say I don’t think any of us knew about the pipa until we started playing that concerto so it’s rather odd to find you, a Philadelphia born musician and accomplished pipa musician.
excerpt from Crossover with Jill Pasternak w/ David Cohen WRTI January 2007
Pipa Master Sun Li had been in America for a few months when I started my study with her. It took a long time to find someone who would teach me. I was walking into a new culture and did not know the pipa was considered a female instrument. At the time the pipa was nonexistent in Philadelphia even in the Chinese community. The request from and American male from Philadelphia traveling to Manhattan on a regular basis wasn’t taken seriously. Master Sun Li (pictured left) needing to create an income base took the chance; I was her first student in America.
At one point the school where she taught was going to be closed for a three week period. We both didn’t want to lose weeks. She invited me to Chinese Queens to continue the instructions in her home.
The period of time my study took place started in the aftermath of 9/11. My instructions started in the first week of Manhattan being reopened. The backdrop and smells from ground zero were ever present. Being in a vehicle with one passenger I wasn’t able to drive into Manhattan. Out of the many options I chose to drive to the Highland’s in New Jersey to take the Wall Street Ferry into Manhattan. From there I walked to my lesson in Chinatown or took the Chinese bus when the lessons were in Queens. Travel time was five hours from my front door to the school, going into Queens was an extra thirty minutes (non rush hour).
I had a New York minute to make the next LIRR to get back into Manhattan after one of my lessons in Queens. In my rush I turned a corner to smack right into a women head on. Two strangers bumped into each other and we both apologized. The woman knowing what was in the case I carried asked, “Oh, you play the pipa? In China it’s a female instrument.” She identified herself as a pipa musician and explained that she was coming back from the printer with programs for her upcoming tour of the United States and Canada. She handed me a program; I knew who this woman was, I had one of her CD’s and was using one of the pieces from it to practice against.
She asked to see my pipa, my rush to make the train ended. I pulled my pipa out of the case on the busy Queens avenue and in the process she saw the transcriptions I was using. Seeing that I was learning Chinese notation and real Chinese classical music she affirmed, “Oh, you really are a pipa player! She told me of her recent return from China with a pipa that was made for the tour. Her luthier had extra material and made a duplicate pipa for her to “take back to America for the pipa player she will meet.” My eyes widened with interest as I stroked my chin with thumb and index finger. She continued, “You need a new pipa, this one is for children.” Interesting timing! Both Sun Li and myself were looking for a “real” pipa for me. I had outgrown the beginner pipa I was using in addition to it starting to warp.
The words she spoke of the pipa being a duplicate were true. The only difference was the design of artwork in the headstock. Her’s was custom designed dragon, my soon to be pipa had a lotus flower. The sale took place a week later on a brutally frigid February morning the day before the Chinese New Year. I took it all as a good sign. After the purchase that took place in Queens, I met a friend in Manhattan for lunch before my journey home. Our waitress with a thick Jamaican accent upon seeing my pipa case asked, “Do you play the pipa?” She told us of her study of the Chinese pipa when she was a little girl in Jamaica. My friend shaking his head in disbelief stated that stuff like this only happens to me.
More and more I see male pipa players performing. It was explained to me that traditionally men taught the pipa and for aesthetic reasons women performed in pubic. I am a guest in a culture, I listen, observe and learn.
While composing the composition People of the Rain I realized I needed a different feel than I had from the guitars I’ve been playing on lately. For no particular reason I haven’t played my Menkevich guitar for a few years. The said guitar is very special to me; Carlos Rubio introduced me to Luthier Michael Menkevick. From that introduction came my first custom guitar. My guitar hero also strummed an A chord on it, signed the head stock and heard me play an Allegra while her tour manager danced (turned out the tour manager was a flamenco dancer). On a hunch a few months ago I reopened a guitar case that has been closed. I reintroduced myself, apologized, polished the wood and restrung; the rhythms and melody poured out.
Manhattan School of Music graduate and Point Pleasant N.J. native John Bogan is back at the Jersey Shore teaching at Red House Guitar Studio. Along with talent and passion John has an exemplary list of teachers and winning award competition experiences to draw upon for a comprehensive course of study in any style of music.
Frank Vignola plays in areas surrounding Philadelphia that are with 1-2 hours drive. Worth it! The closest gig to Philadelphia was the Sellersville Theater in 2016. It’s time this great guitarist comes to Philly. Stream, download, buy, link, follow, friend, subscribe; do what it takes to increase visibility on his analytics for Philly.
Artist website: www.frankvignola.com/
You Tube: www.youtube.com/user/TheFrankVignola/featured
Frank Vignola is one of the most extraordinary guitarists performing before the public today. His stunning virtuosity has made him the guitarist of choice for many of the world’s top musicians, including Ringo Starr, Madonna, Donald Fagen, Wynton Marsalis, Tommy Emmanuel, the Boston Pops, the New York Pops, and guitar legend Les Paul, who named Vignola to his “Five Most Admired Guitarists List” for the Wall Street Journal. Vignola’s jaw dropping technique explains why the New York Times deemed him “one of the brightest stars of the guitar”.
music: Liselotte Westerterp
Lonely Traveler Duo: Anna Sigríður Skarphéðinsdóttir – dramatic soprano, Panagiotis Gourdoupis – guitar
Live performance on December 4, 2017 at the Utrecht Conservatory, The Netherlands
Liselotte Westerterp lived in Philadelphia and graduated from Temple University before her acceptance into the Utrecht Conservatory in the Netherlands.
Liselotte Westerterp on SOUNDCLOUD: