{"id":9543,"date":"2018-03-30T12:06:39","date_gmt":"2018-03-30T19:06:39","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=9543"},"modified":"2018-03-30T12:08:02","modified_gmt":"2018-03-30T19:08:02","slug":"video-pick-of-the-week-andrea-gonzales-caballero-plays-joaquin-clerchs-preludios-de-primavera","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/video-pick-of-the-week-andrea-gonzales-caballero-plays-joaquin-clerchs-preludios-de-primavera\/","title":{"rendered":"Video Pick of the Week: Andrea Gonz\u00e1les Caballero Plays Joaqu\u00edn Clerch&#8217;s &#8216;Preludios de Primavera&#8217;"},"content":{"rendered":"<p>With spring having formally arrived last week, I went looking for a piece that celebrates that wonderful season. Rather than going the perhaps obvious Piazzolla route (<em>Primavera porte\u00f1a<\/em>), I opted for this striking and quite modern-sounding piece by Cuban composer and guitarist <a href=\"http:\/\/www.joaquinclerch.com\/en\/\" target=\"_blank\" rel=\"noopener\">Joaqu\u00edn Clerch<\/a> (b. 1965), who studied guitar and composition both in Cuba and at the Mozarteum University in Salzburg, Austria. Clerch was a friend and prot\u00e9g\u00e9 of Leo Brouwer, who composed two guitar concertos for him, and I think some of his influence can be heard in this work,\u00a0<em>Preludios de Primavera<\/em> (published by <a href=\"https:\/\/de.musici-shop.com\/shop\/preludios-de-primavera-no348708.html\" target=\"_blank\" rel=\"noopener\">Musikverlag Zimmerman<\/a>).<\/p>\n<p>Passionately playing the final movements of Clerch&#8217;s challenging piece is the young Spanish guitarist <a href=\"https:\/\/www.andreagonzalezcaballero.com\/home\" target=\"_blank\" rel=\"noopener\">Andrea Gonz\u00e1lez Caballero<\/a>, in a performance from the final round of the 2016 <a href=\"http:\/\/www.concursoalhambra.com\/en\/\" target=\"_blank\" rel=\"noopener\">Alhambra International Guitar Competition<\/a>\u2014where she was awarded First Prize. A studio recording of Caballero playing seven of the Clerch <em>Preludios<\/em> appears on her 2017 Naxos album, <a href=\"https:\/\/www.naxos.com\/catalogue\/item.asp?item_code=8.573767\" target=\"_blank\" rel=\"noopener\">Guitar Recital<\/a>.\u00a0 (Andrea was <a href=\"http:\/\/classicalguitarmagazine.com\/video-pick-of-the-week-andrea-gonzalez-caballero-plays-rodrigos-fandango-from-tres-piezas-espanolas\/\" target=\"_blank\" rel=\"noopener\">featured previously <\/a>in this space playing some Rodrigo.)\u00a0\u2014<em>Blair Jackson<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>With spring having formally arrived last week, I went looking for a piece that celebrates that wonderful season. Rather than going the perhaps obvious Piazzolla route (Primavera porte\u00f1a), I opted for this striking and quite modern-sounding piece by Cuban composer and guitarist Joaqu\u00edn Clerch (b. 1965), who studied guitar and composition both in Cuba and at the Mozarteum University in Salzburg, Austria. Clerch was a friend and prot\u00e9g\u00e9 of Leo Brouwer, who composed two guitar concertos for him, and I [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":9548,"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":[6,7],"tags":[],"class_list":["post-9543","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-news","category-watch","post_format-post-format-video"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2018\/03\/Caballero.jpg?fit=736%2C414&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/9543","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=9543"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/9543\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/9548"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=9543"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=9543"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=9543"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}