University of Virginia Library

MUSIC

The New Heir To Segovia

By TERI TOWE

The truly great guitarist,
like the truly great 'cellist, is
a rara avis, to put it midly.
Both the 'cello and the guitar
lend themselves to the
exploitation of the extremes
of maudlin emotion and of
dry, exhibitionistic, and often
vulgar virtuosity, and rare is
the instrumentalist who can
avoid these excesses and still
realize the full potential of
the 'cello or of the guitar.

A born musical pessimist, I
have listened to a whole range
of younger guitarists and
'cellists, hoping to find
successors (there can be no
replacements) to Pablo Casals
and Andres Segovia. At times I
have felt like Diogenes
searching for an honest man.
The 'cello has been more
fortunate than the guitar,
since Paul Tortelier, Maurice
Gendron, and Leslie Parnas
are all masters of the
instrument.

Until Monday night
however, I had despaired for
me future of the classical
guitar. True, I had heard
Christopher Parkening and
had been impressed deeply by
his performances. But there is
in his playing a certain
indefinable lack of true
musical and formal
understanding which I find a
bit disconcerting.

On Monday evening, my
despair was replaced by relief
and by the knowledge that
the classical guitar has found
itself another master. Michael
Lorimer, who appeared in
University Hall under the
auspices of the Artist Series
of the University Union, is
indeed a remarkable
instrumentalist. He is not a
flamboyant virtuoso.
Lorimer's is an intense and
dignified mind; his
interpretations are quiet,
restrained, and carefully
thought out, but without the
corresponding lack of feeling
which one might expect.

In some ways, Lorimer's
performances reminded me of
Casals's playing, in that like
Casals, Lorimer instinctively
understands that no note, no
phrase, is inferior to any
other in terms of the
attention it should receive in
the construction of an
interpretation and in
performance. Lorimer is also
in full command of his
instrument technically. He
handles trememolo effects and
harmonics splendidly, and his
sense of dynamics is
remarkable. There is no
doubt in my mind. Michael
Lorimer is a great guitarist,
the heir to Segovia if he
continues the path he is
pursuing now.

It only remains to be said
that the guitar was discreetly
and tastefully amplified so
that even those farthest from
the stage could hear every
nuance of Lorimer's playing
without being conscious of
any amplification. The recital
was a fine end to this year's
Artist Series. Three cheers to
all involved – performer,
technicians, and management.