On my second Menlo Monday adventure I did make it (on time) to a Music@Menlo chamber music event. It was a lunchtime “Café Conversation” titled “Spanish Spirit: Spain’s Influence over the Guitar’s Concert Repertoire with Guitarist Jason Vieaux.” I learned all about the history of classical guitar composition and performance in Spain and was treated to some spellbinding pieces performed by a virtuoso.
The presentation was held Monday, August 9, 2010 at Martin Family Hall on the Menlo School campus which hilariously is in Atherton, just off El Camino Real. I managed to get there without making any wrong turns this time. I had never been to Menlo School so I allowed myself a moment to take in the grand sweep of the opulent grounds. The centerpiece is the magnificent Stent Family Hall, formerly Douglass Hall, an Italian-style mansion built in 1913 and nearly demolished after the effects of the Loma Prieta earthquake, but saved by the efforts of the community.
The Music@Menlo Café Conversations are billed as free informal discussions on a variety of topics. Martin Family Hall is an intimate but very comfortable 180-seat theater. By the time the talk started nearly every seat was full, including the five rows in the center section which were reserved for young musicians participating in the festival’s Chamber Music Institute, an intensive program that pairs world-class instructors with teenaged prodigies. CMI at Menlo has been described as a sort of Hogwarts School where they teach music instead of magic.
The talk was given by Jason Vieaux, a young American classical guitar phenom. He was performing at a formal festival concert that evening but at lunchtime he sat alone on the stage and gave a lively lecture on the history of Spanish guitar music, highlighting key performers and composers from the last 400 years. He explained how early figures like Alonso Mudarra, Gaspar Sanz, Fernando Sor, and Dionisio Aguado were tremendously influential in promoting the guitar as a serious instrument, but their compositions were generically European, emulating the styles of cultural powerhouses like Germany, Italy, and France. Still he pointed out how elements we typically identify as Spanish were evident even in the early works, such as hemiola rhythms (think “I Want to Live in Amer-i-ca”) and Moorish muezzin fanfares reflecting Spain’s period of Arab conquest. Then in the early 20th century composers like Julián Arcas, Isaac Albéniz (piano), and Francisco Tárrega came along and proudly tapped into the folk idioms of their homeland, incorporating flamenco dance flavors into their music, and the Spanish revolution was underway led by superstar players like Miguel Llobet and the great Andrés Segovia.
Vieaux illustrated his talk with a few YouTube videos but of course he simply played many pieces for us live, and I was awed by his mastery over the instrument. His fast and powerful technique is balanced by exquisite expression, and he’s able to coax a wide range of timbres from the guitar by controlling everything down to the angle he holds his strumming fingers. I chatted afterwards with Art, an amateur guitarist in attendance, to get his opinion. Art told me he was really impressed with Vieaux’ lyricism and that the day’s performance compared most favorably to or outshone others he had seen. Watch the video below for a sample of what we were treated to.
While he played, for a few mortified moments I thought I heard someone snoring loudly in the front row but humorously it turned out to be Vieaux himself breathing loudly into his headset microphone. At the end he took questions from the audience and expounded on topics such as the space-age construction of his own instrumenta Wagner spruce and cedar Nomex sandwich with a rosewood back and titanium-nylon strings in case you were wonderingand the care and feeding of his gnarly guitar-plucking thumbnail, as big as a pick. I was there with my own agenda. I knew from various accounts that in the Mexican days, the most popular instrument in California was the guitar. I asked him if he was aware of any classical guitar music making its way onto the Californio ranchos. He didn’t know but he was intrigued by the question and guessed that the tunes probably stayed in the realm of popular folk music. Click here for a video of a wonderful group I just found, The Alta California Orchestra, that recreates the music of the fandangos or dance fiestas that brightened the lives of early Californians.
After the program I drove down El Camino to the Menlo Park Safeway, my first time there since they remodeled, to do a little light shopping and grab a late lunch smoothie from the Jamba Juice embedded inside the store. I didn’t love that experience. The Jamba Juice is a small satellite so they didn’t have the apple cinnamon pretzels I always get, they didn’t take my prepaid Jamba card (I’m a Jamba junkie), and the line at the counter inconveniently blocked shoppers with carts trying to exit the store. After I finished my drink I got a terrible headache and ended up going home early feeling sick. Next time I’ll stick to full-fledged Jamba stores and get nothing but groceries from Safeway. An unfortunate ending but overall another magical Monday in Menlo.
AllCamino is now listed at 
