Repertoire
Solo classical guitar repertoire and traditional flamenco forms, drawing mainly on the Brazilian, Russian, Spanish, and Western European traditions.
Baroque
Prelude in D minor, BWV 999
J.S. Bach · c. 1720 · ~2 min
Originally for lute or lautenwerk, now a standard of the classical guitar repertoire. A single‑movement work in continuous arpeggiated texture over a descending chromatic bass.
Cello Suite No. 2 in A minor, BWV 1008
J.S. Bach (arr. for guitar) · c. 1717–1723 · ~20 min (complete)
Six‑movement suite in the French dance tradition, transcribed from the cello original.
I. Prélude
Continuous sixteenth‑note motion; improvisatory in character.
II. Allemande
III. Courante
Triple meter, running and forward‑driving.
IV. Sarabande
Slow triple meter with second‑beat emphasis.
V. Menuets I & II
Paired minuets — D minor and D major, with da capo to the first.
VI. Gigue
Compound‑meter finale.
Brazilian
Prelude No. 3 in A minor
Villa‑Lobos · 1940 · ~4 min
Subtitled “Homage to Bach.”
Prelude No. 4 in E minor
Villa‑Lobos · 1940 · ~4 min
Subtitled “Homage to the Indigenous People of Brazil.”
Etude No. 1 in E minor
Villa‑Lobos · 1929 · ~3 min
Right‑hand arpeggio study in continuous figuration, traversing the full range of the fretboard. A foundational work of the guitar étude literature.
Suite Populaire Brésilienne
Villa‑Lobos · 1908–1912, rev. 1923 · ~20 min (complete)
Four‑movement suite combining European salon dances with the Brazilian chôro tradition.
I. Mazurka‑Chôro
Mazurka rhythm with Brazilian melody.
II. Schottisch‑Chôro
Based on the xote, the Brazilian adaptation of the schottische.
III. Valsa‑Chôro
Waltz in the chôro style with chromaticism.
IV. Gavotta‑Chôro
Gavotte with contrasting middle section.
Classical & Romantic
Estudio in E minor
Francisco Tárrega (1852–1909) · c. 1890s · ~2 min
Study combining arpeggiated accompaniment with melodic line.
Study in A minor
Dionisio Aguado (1784–1849) · early 19th c. · ~2 min
Early Romantic study in clear four‑bar phrasing. From one of the most systematic guitar pedagogues of the early 19th century.
Las Abejas (The Bees)
Agustín Barrios Mangoré (1885–1944) · early 20th c. · ~3 min
Character piece in rapid legato.
Russian Contemporary
Three Pieces from St. Petersburg Etchings
Yuri Smirnov · pub. 2013
Character pieces from a suite of eight for solo guitar. Smirnov was a St. Petersburg guitarist and composer.
No. 1 — Romance
3/4 in B minor, in the Russian instrumental romance tradition.
No. 2 — Pushkin Waltz
19th‑century Russian waltz.
No. 7 — Jazz Waltz
Within a classical guitar idiom.
Transcriptions
Dance of the Knights
Sergei Prokofiev (1891–1953) · 1935 · ~4 min
From the ballet Romeo and Juliet, Op. 64. March‑like theme. Arrangement by Bridget Mermikides.
Flamenco
Five traditional palos, each with distinct compás and tonality. Flamenco technique draws on rasgueado, picado, alzapúa, and golpe.
Farruca
Traditional
Soleá
Traditional
12‑beat compás with accents on beats 3, 6, 8, 10, and 12.
Bulerías
Traditional
12‑beat compás related to the soleá at higher tempo.
Taranta
Traditional
Free‑rhythm palo from the Levante mining tradition. Typically in F‑sharp Phrygian.
Malagueña
Traditional
Free‑rhythm form derived from the fandango.
Notes
Concert performances are given on a guitar built by Russian luthier Simeon Yolkin, modelled after an 1888 instrument by Antonio de Torres.
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