{"id":4404,"date":"2016-06-14T15:00:44","date_gmt":"2016-06-14T22:00:44","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=4404"},"modified":"2016-06-16T16:49:10","modified_gmt":"2016-06-16T23:49:10","slug":"video-pick-of-the-week-matt-withers-and-the-national-capital-orchestra-perform-nigel-westlakes-wooden-ships-from-the-antarctica-suite","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/video-pick-of-the-week-matt-withers-and-the-national-capital-orchestra-perform-nigel-westlakes-wooden-ships-from-the-antarctica-suite\/","title":{"rendered":"Video Pick of the Week: Matt Withers and the National Capital Orchestra Perform Nigel Westlake&#8217;s &#8216;Wooden Ships&#8217;"},"content":{"rendered":"<p>This week\u2019s \u201cPick\u201d comes from Down Under\u2014specifically from noted Australian guitarist <a href=\"https:\/\/mattwithers.com.au\/\" target=\"_blank\">Matt Withers<\/a>, who is one-fourth of the superb guitar quartet known as <a href=\"https:\/\/guitartrek.net\/\" target=\"_blank\">Guitar Trek <\/a>(who are featured in the <a href=\"http:\/\/store.elizabethl27.sg-host.com\/collections\/back-issues-1\/products\/no-382-summer-2016\" target=\"_blank\">Summer 2106 issue <\/a>of <em>Classical Guitar<\/em>) and also plays solo and with orchestras, as he does here on the beautiful second movement of Australian composer <a href=\"http:\/\/www.rimshot.com.au\/\" target=\"_blank\">Nigel Westlake<\/a>\u2019s <em>Antarctica: Suite for Guitar and Orchestra<\/em>. The movement is called \u201cWooden Ships\u201d (no relation to the rock classic) and it features some beautifully lyrical playing from both Withers and the National Capital Orchestra, as well as a slightly mysterious-sounding solo passage. The concerto was derived from Westlake\u2019s score for the 1991 IMAX film <em>Antarctica<\/em>, and was originally written for John Williams. (Westlake\u2019s other film scores include both <em>Babe<\/em> films and <em>Miss Potter<\/em>.)<\/p>\n<p>Withers is also a guitar teacher and founder of the Matt Withers Australian Music Composition Competition. He was recently honored by being nominated for a prestigious Freedman Fellowship, which he hopes will help him with his third Composition Competition, to be held in 2018. For Withers, it\u2019s all about finding exciting new repertoire for the solo classical guitar, and fostering composers in his native land. Good luck, Matt!<\/p>\n","protected":false},"excerpt":{"rendered":"<p>This week\u2019s \u201cPick\u201d comes from Down Under\u2014specifically from noted Australian guitarist Matt Withers, who is one-fourth of the superb guitar quartet known as Guitar Trek (who are featured in the Summer 2106 issue of Classical Guitar) and also plays solo and with orchestras, as he does here on the beautiful second movement of Australian composer Nigel Westlake\u2019s Antarctica: Suite for Guitar and Orchestra. The movement is called \u201cWooden Ships\u201d (no relation to the rock classic) and it features some beautifully [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":4408,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[5,7],"tags":[],"class_list":["post-4404","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-stories","category-watch","post_format-post-format-video"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/06\/matt-1.jpg?fit=400%2C400&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/4404","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=4404"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/4404\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/4408"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=4404"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=4404"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=4404"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}