Goran Krivokapic records at GSI

Goran Krivokapić recently recorded five videos at GSI. Goran is known for his technical mastery and musical depth. He began studying guitar at eight and later studied with renowned instructors, earning degrees from institutions in Belgrade, Cologne, Maastricht, and Leuven. A multiple first-prize winner at prestigious competitions—including the Guitar Foundation of America (2004) and the “Michele Pittaluga” in Alessandria (2000)—Krivokapić has performed worldwide as a soloist and chamber musician. He is a founding member of the Montenegrin Guitar Duo and has played with top orchestras like the Belgrade Philharmonic and Moscow Symphony. Beyond performance, he expands the classical guitar repertoire through transcriptions and collaborations with contemporary composers. Currently, he teaches at the Cologne University of Music and Detmold University of Music. His recordings, including Guitar Recital (Naxos), have received critical acclaim.

Antonio Lauro, one of Venezuela’s most celebrated composers and guitarists, is renowned for his contributions to the classical guitar repertoire, particularly his works inspired by traditional Venezuelan music. “Virgilio” is a prime example of his ability to blend folk rhythms with sophisticated classical techniques. The piece is subtitled “Bambuco Tachirense”, referring to the bambuco, a lively dance rhythm found in various Latin American countries, particularly Colombia and Venezuela. The bambuco is characterized by its syncopated rhythms and shifting accents, creating a sense of buoyancy and forward motion. The reference to Táchira—a Venezuelan state bordering Colombia—suggests a regional variation of the dance, reflecting local musical traditions. Goran recorded this video on a 2018 Dominik Wurth.

Composed in the late 19th century, "Gran Vals" reflects the influence of salon music, a popular genre in Tárrega’s time that favored graceful, dance-like forms. The piece features flowing arpeggios, dynamic contrasts, and characteristic waltz rhythms, evoking the charm and sophistication of 19th-century European dance music. Notably, a short melodic phrase from "Gran Vals" gained unexpected global recognition when it was adapted as the iconic Nokia ringtone, making it one of the most widely heard musical motifs in history. Goran recorded this video on a 2017 Michael Thames "La Leona" classical guitar made with spruce top and cocobolo back and sides. 

The mazurka, a Polish dance in triple meter, was popular throughout Europe in the 19th century, and Tárrega adapted its characteristic rhythmic patterns into several of his pieces. In “¡Marieta!”, he employs a graceful interplay of melody and accompaniment, creating a light and elegant dance-like feel. This short yet evocative work is believed to be dedicated to María Rizo, Tárrega’s wife and a great supporter of his music. With its warm harmonies and lilting rhythm, “¡Marieta!” is a miniature gem that captures Tárrega’s ability to transform simple folk elements into deeply expressive and refined guitar music. Goran recorded this piece on a 1977 Jose Ramirez "1A" classical guitar made with cedar top and Indian rosewood back and sides.

"El Marabino" is part of Lauro’s series of Valses Venezolanos, a collection of waltzes inspired by the rich musical traditions of his homeland. The title "El Marabino" refers to a person from Maracaibo, a city in northwestern Venezuela known for its vibrant cultural heritage and lively folk music. The piece embodies the spirit of the vals venezolano—a uniquely syncopated Venezuelan waltz that differs from its European counterpart with its rhythmic complexity and dynamic energy. In this work, Lauro combines lyrical melodies with intricate harmonies and a playful, dance-like character. The interplay between graceful phrases and rhythmic drive captures the joyful and expressive essence of Venezuelan music. "El Marabino" remains a beloved part of the classical guitar repertoire, celebrated for its warmth, charm, and rhythmic vitality. Goran recorded this piece on a 2024 Elias Bonet classical guitar made with spruce top and maple back and sides. 

Giulio Regondi’s “Étude No. 8” is part of a collection of ten etudes that showcase his distinctive blend of Romantic lyricism and intricate technical challenges. This etude is characterized by its flowing, arpeggiated textures and long, singing melodic lines, demanding both precision and fluidity from the performer. Regondi’s writing is highly evocative, often resembling the expressive bel canto style of operatic music. The study requires mastery of legato phrasing, dynamic control, and intricate left-hand movements, making it not only a technical exercise but also a deeply expressive work. Goran recorded this piece on a 1932 Domingo Esteso classical guitar made with spruce top and CSA rosewood back and sides.