Classical Guitarists Teicholz, Dunn Display Insights

The local classical guitar scene has had a fine summer thus far, thanks to the Cal State Long Beach Summer Arts concert schedule, which continued Monday night at the Daniel Recital Hall with a formidable doubleheader: Marc Teicholz and Alexander Dunn.

By nature, dual recitals on a common instrument invite comparisons, and not always fair ones. If Teicholz emerged more facile and sure-handed this night, Dunn coaxed a warmer, deeper tone from his instrument, despite a few distracting finger slips.

The evening’s program was not as rooted in standards as initial impressions suggested. Teicholz began the program with Francisco Tarrega’s “Capricio Arabe,” but that was the last we heard from the often commonplace Spanish guitar contingent.

Bach supplied the concert’s foundation--ever a reliable core. Teicholz exacted boldness and flair from the Partita No. 1, BWV 825, while Bach’s Sonata, BWV 1001, ran into a bit of troublesome imprecision in Dunn’s hands, although he salvaged decorum by the work’s end.

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Most affecting in Teicholz’s set was “Reminiscence,” by UC Berkeley-based composer Andrew Imbrie. An abidingly expressive atonal work, written in memory of his late son, the 1992 piece unfolds with twin passions of anger and tenderness, clearly outlined by the guitarist. Paulo Bellinati’s “Jongo” was another story, a rhythmically studded, uncomfortably rhapsodic folk-tinged contraption, all too glib as a follow-up to Bach.

For his part, Dunn offered proper emotional depth to Joseph Mertz’s “Elegy,” and proper flourish to Mauro Giuliani’s “Rossiniane Opus 119,” a showpiece given a strong showing here. After that heroic note, as an apt encore, he dedicated Augustin Barrios’ “Prayer for All” to the late classical guitar icon and patriarch Celedonio Romero.