Classical Guitar Treasures from the Baroque

I’m excited to announce a new digital release from Miramont Records of my latest album! Classical Guitar Treasures from the Baroque – with arrangements by Michael Lorimer – will be available on all streaming services on Friday, October 21st.

This album features two multi-movement suites from the varied styles of lutenist Silvius Leopold Weiss (Sonata #34 in E minor) and J.S. Bach’s Cello Suite No 1, BWV 1007 – both updated arrangements.

In addition, the album is anchored by four tombeaux (a musical eulogy) written on the death of the unfortunate Mr. Blancrocher, a lutenist who fell down a flight of stairs at a party attended by all four composers represented on this recording. Each composer’s eulogy is titled Tombeau pour Mr. Blanchrocher.

Two of the Tombeaux were written by harpsichordists Johann Jakob Froberger and Louis Couperin. These are masterful arrangements that evoke the highly ornamental and complex French Baroque style. These works contain musical phrases depicting Mr. Blanchrocher’s descent down the stairs (or to his eternal resting place?) as well as bells tolling. The other two tombeaux are by lutenists François Dufault and Denis Gaultier – lighter in texture they exude a profoundly mournful and plaintive tribute to Mr. Blanchrocher.

Rounding out the album are three new arrangements, Domenico Scarlatti’s K213, originally for harpsichord, and Prelude and Fugue, BWV 539a, 1000, 1001), originally written for organ. Bach paired his new work, the Prelude, with an arrangement of his famous ‘fiddle’ fugue. Lorimer arranged the Prelude from the organ and the Fugue mostly from the Fugue from Bach’s Second Violin Sonata. The result is a fantastic pairing and inventive articulation in the guitar part, especially in the Fugue.

The creation of Treasures comes from my decades long passion of baroque music. My teacher Michael Lorimer, baroque and classical guitarist and protege of Andres Segovia, arranged all the works on this recording. His impeccable insight into the baroque style is seamlessly interwoven with the classical guitar, resulting in performances that sound like they were originally written for guitar.

Classical Guitar Treasures from the Baroque – Track List

  1. Prelude – Sonata #34**, Silvius Leopold Weiss
  2. Allemande
  3. Courante
  4. Bouree
  5. Minuett I
  6. Sarabande
  7. Minuett I
  8. Gigue
  9. Tombeau pour Mr. Blancrocher, Lous Couperin
  10. Tombeau pour Mr. Blancrocher*, Denis Gaultier
  11. Prelude – Cello Suite No 1 BWV 1001**, J.S. Bach
  12. Allemande
  13. Courante
  14. Sarabande
  15. Minuetts I & II
  16. Gigue
  17. Tombeau pour Mr. Blancrocher*, Francois Dufault
  18. Tombeau pour Mr. Blancrocher, Johann Jakoc Froberger
  19. Sonata K213*, Domenico Scarlatti
  20. Prelude BVW 539a*, Johann Sebastian Bach
  21. Fuga BVW 1000, 1001*, Johann Sebastian Bach

* new arrangement, first recording

** updated arrangement

Like My Spotify Playlist

Follow me on Spotify here. Also follow my Spotify Scott Kritzer’s Influential Performances Playlist -I’ll be adding works from Treasures.

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Classical Guitar & Voice Christmas – New Release

Another Christmas recording from Miramont Records is hitting all digital streams on Friday, November 18th.

Classical Guitar and Voice Christmas features soprano Janet Chvatal and myself on guitar (Chvatal/Kritzer Duo). The album pairs some of the world’s most popular, cherished melodies with non-traditional classical arias featuring subtle, uncommon spins within the Duo’s arrangements to create the perfect, enchanting mood for the season.

In addition Canadian composer and arranger Glenn Morely has arranged a number of works for this recording for Duo with orchestra including his haunting Huron Carol, a traditional Canadian Christmas Carol form the 1600’s.

Download Classical Guitar & Voice Christmas.

And don’t forget to add Classical Guitar Christmas II to your holiday collection!.

And don’t forget to add Classical Guitar Christmas II to your holiday collection!.
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Live Radio Broadcast – Online

Please join me Thursday, November 17th from 3-4 PM PST for All Classical Portland’s Thursdays @ Three with host Christa Wessel. Just go to the link below and hit the ‘Listen’ button.

My segment will be filled with works from my upcoming release Classical Guitar Treasures from the Baroque, arrangements by Michael Lorimer. And I’ll have a special announcement!

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“Treasures” Chat on the Baroque

Learn how to find the best baroque arrangements for guitar, how to practice ornaments and where to place them in your music, what differentiates the baroque style from other classical music periods, and how to get that baroque feel into your music. I’ll also provide some fun backstories to the works on my latest recording (did you know Bach and Weiss hung out together?)

To mark the recent release of Classical Guitar Treasures from the Baroque I’ll be offering a ZOOM chat (Saturday, November 5th at 1 pm Pacific Time) for guitarists and baroque enthusiasts on the baroque style in music. Register in advance at https://us02web.zoom.us/meeting/register/tZcrceuurz0uHdOoLokkFg1qNscYfX15SeIg

Register now to reserve your spot!

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Pre Save my New Album Classical Guitar Treasures from the Baroque

Click on the “Pre-Save & Follow” link or enter your email below!

Fans who Pre Save my upcoming album Classical Guitar Treasures from the Baroque can join me for my ZOOM chat on “Creating Treasures” on Saturday, November 5, at 1:00 PM PDT. We’ll talk about performing in the Baroque style, ornamentation and all things guitar. Q&A included.

You’ll get a ZOOM registration invitation by the end of October. To be eligible register below before October 21st!

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Classical Guitar Immersion June 26-July 2, 2023

CGI ‘23 – Mt Angel Abbey, Mt Angel, Oregon – Scott Kritzer with Mario Diaz

Classical Guitar Immersion’s 17th year marks another major transition. Over the decades I’ve created an ‘immersion’ experience that reflects the one-week masterclass experiences that were so prevalent in the 70’s, when I began my studies. CGI offers that experience for both the amateur and professional guitarist.

CGI has moved from a private home in 2006, to Lewis & Clark College, then to the Menucha Retreat and Conference Center and now, its most ideal setting, the Mt. Angel Abbey located in Mt. Angel, Oregon. This ideal location provides private and modern accommodations, modern classrooms and dining facilities, all located in the Guesthouse, and an auditorium for our formal performances located in the renowned Aalto library. 

In addition there is a coffee shop, bakery, and brewery, all located on the meditative grounds of the Abbey which features a 360 degree view of the Willamette Valley. Students can also treat themselves to morning sunrises and evening sunsets from the many rooftop patios. The setting at the Mt Angel Abbey promotes and facilitates the focus and reflection that deepens the learning experience of CGI.

More Than a Week in June

While CGI is scheduled for a week in June, our work begins in the previous September. Beginning in September I’ll lead a monthly workshop to help better prepare the students. This September I’ll teach my Fretboard Theory course. Beginning in January, with our pieces chosen and learned, we’ll work on practice techniques and performance preparation. When the student arrives at CGI we implement simple aspects of performance development that adds the finishing touches. In addition, in the fall, Mario will begin working quarterly with players on the CGI Ensemble repertoire.

Classical Guitar Immersion (CGI) has focused on the development of performance skills, with a different emphasis each year. This is achieved by focus on technical excellence, practice development, musicianship and performance skills.

Master Classes, Ensemble Rehearsal and Student Lectures

CGI ‘22 focused on Advanced Technique, a 12-week course that introduced left and right hand relaxation techniques into already learned technical skills. The result in this year’s performances were fewer errors and better musicianship.

CGI ‘23’s theme will be “Breaking the Musical Code” where we will develop the musical expression tools of timbre, dynamics and rhythm along with musical analysis, Fretboard Theory, and finally, the introduction of the Musicianship Practice Directives. Breaking the Musical Code will lead to more refined and musically satisfying performance skills.

In addition to our new location I’ve invited guitarist Mario Diaz to assist again this year. Last year he lead the CGI Ensemble and assisted in teaching some of the workshops. With his addition we will expand CGI to accommodate more players into the immersion experience. 

Also, we are looking forward to continuing our opening day festivities of a luthier exhibit and presentation with Jeffrey Elliott, Cindy Burton and Gregory Miller as well as an opening night performance by Mario and myself.

CGI ’23

CGI participants will work with Mario and myself in master classes and ensemble rehearsals in preparation for our final performance. 

Performers will form two groups; Groups A & B. Group A performers will work with me in the morning master class and Group B performers will work with Mario Diaz in the afternoon masterclass. Each group should plan on auditing the other group’s class. Practice and free time is built into the CGI Schedule (below)

The final day of CGI will consist of three performances. Group B will perform for all members of CGI as well as monks from the Abbey. This morning performance will take place in Westminster Classroom. 

In the afternoon Groups A & B will join forces for the CGI Ensemble concert. Following a dinner break Group A will then play a formal recital. Both the Ensemble and Performer Group A recitals are open to the public and take place in the Aalto Auditorium.

Below you’ll find an example of the CGI schedule.

CGI Daily Schedule

The following schedule is subject to change.

  • 7:00-7:30 Breakfast
  • 7:30-9:00 Practice/Free Time
  • 9:00-12:00 Master Class Group A (Westminster Meeting Room)
  • 12:15-12:45 Lunch (Dining Room, Abbey Guesthouse)
  • 1:00-3:30 Master Class Group B (Westminster Meeting Room)
  • 3:30-6:00 Practice/Free Time
  • 6:00-6:30 Dinner (Abbey Retreat Dining Hall)
  • 7:00-8:00 Ensemble Rehearsal (Westminster Meeting Room)

Cost

The cost for CGI is $2495. This includes meals, lodging, attendance for all masterclasses, workshops, rehearsals and performances. The fee also includes eight workshops that I’ll be holding from the fall through the spring. 

Deposit

Participants need to send a non-refundable deposit of $495 to be admitted. This deposit will hold your spot or keep you on a waiting list. This deposit also allows you access to the monthly workshops.

Requirements

All participants should be able to play up to 3 works from memory and all skill levels are welcome. Participants will need to also attend the monthly workshops. If you’re not currently a student of Mario Diaz or myself, a meeting either in person or via Zoom will be required.

Important Dates

  • August 13 – Potential New Attendees Zoom Meeting*
  • August 15, 2022 – 2022 CGI Participants Deposits Due
  • August 16 – Open Enrollment Begins
  • August 28 – CGI 2023 Participants Zoom Meeting
  • September 24 – May 27 (fourth Saturday of each month, except for a December break) Breaking the Musical Code: Fretboard Theory; Practice, and Performance Development Workshops
  • March 31, 2023 Final Deposit Due
  • June 26-July 2 – 2023 CGI Mt Angel Abbey

*All ZOOM meetings begin at 1:00 pm, PDT and are recorded. 

CGI often sells out but with the expansion of our openings we can offer a rare chance to not only get in to CGI this year but future year’s as well.

Mario and I will be holding an Introduction to CGI on Saturday, August 20 at 1:00 pm PDT via Zoom. Here we can answer your questions regarding CGI. If you’re interested in attending CGI you should attend the meeting. Just contact me via email and I will send you the login information for the meeting.

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Fantasy on E Lucevan by Glenn Morley

This work was written for and performed by the Chvatal/Kritzer Duo and is inspired by the 2nd movement from Joaquin Rodrigo’s “Concierto de Aranjuez” and Puccini’s “E Lucevan le stelle” from Tosca. Available today on all digital platforms!

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Valentine’s Treat

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Nessun Dorma (updated) TAB

Updated Arrangement of Nessun Dorma (TAB option)

In honor of Valentine’s Day I have made an updated arrangement of Nessun Dorma which is now available in both guitar and guitar and TAB notation.  Go to Store to purchase

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Stories from the Stage: the Concierto de Aranjuez

Oregon Symphony program from September, 1991

I found a scrap book that my mother kept which contained this Oregon Symphony program of my performance of the Concierto de Aranjuez in September of 1991. This was the first of three performances of this masterpiece that I performed with the Oregon Symphony Pops, conducted by Norman Leyden. In this first performance I mostly remember being terrified.

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