Of Tracklists and Men

The first step before recording a CD, one would think, is to have something to record. However, I had decided it was time to work on Album #2 well before I had a clear idea of what would be on the finished product. The reason I believe to be pretty simple: as I continue my education in classical guitar, I see myself confronted with increasingly complex repertoire, while at the same time becoming aware of the myriad different artists who have already recorded the same pieces I spend so much time working on.
On the other hand, my compositional output has come to a screeching halt ever since "Tones", so the alternative avenue of choice wasn't available either.

Over the course of the summer I sensed the desire to be back in the studio growing, and after a casual conversation with my stepmom (who was worried that all of my concerts would feature those complicated modernist works I'm so fond of), I began to see the outlines of an accessible, yet highly personal, program that would be both a pleasure and a sensible move to record.
The theme was simple; identify a series of "seminal" pieces that could outline the development of my playing as an interpreter.

It all started with the Beatles, and then it moved on to the Mediterranean idioms of the solo guitar during my time with Armando Corsi. Thinking of my decision to move to Nashville to study with Muriel Anderson, I remembered it was her colorful and evocative playing that entranced me to the point of leaving home. To represent my current studies with David Tanenbaum, I chose examples of Early Music - a genre whose riches were properly introduced to me only in our recent lessons.
To this quasi-chronological progression I then added a few personal touches - both because I like them and because I think people will, too. One of these is a song I wrote and recorded already, but not as a solo. This very piece, more than everything else, will probably show the evolution I've undergone as a player in these years.

So here's the tentative tracklist for 'codename: ahi tuna.' The order and actual pieces are of course subjected to change, but this should give you an idea of what's coming.

1) Ricercare #4 and Fantasia #33 (Francesco da Milano)
2) Sonata in A Major, K208 (Domenico Scarlatti)
3) Stefania (Pasquale Taraffo)
4) Tarantella (Pasquale Taraffo)
5) Genteel (Giacomo Fiore)
6) In my Life (Lennon-McCartney)
7) Yesterday (Lennon-McCartney)
8) A Dance for Muriel (Jorge Morel)
9) Sakura (Yuquijiro Yocoh)
10) Four Pieces from the Scottish Lute Manuscripts (anon.)
11) Farewell to Stromness (Peter M. Davies)

Recording dates set!

Hello everybody! Welcome to the official "studio log" for my newest recording project, 'codename: ahi tuna.' Here you will find what I hope will be prompt and timely updates on the development of the project.

The repertoire has been picked (more on that later), but the most pressing thing is that I've secured the first round of recording sessions for next week. The album will be recorded at the San Francisco Conservatory of Music, in the warm and oh-so-familiar Osher Salon. I was really pleased with the recorded sound from my recital this past May, and this hall easily offers the best insulation from outside noise.

I guess now it's off to practice to make sure I'll be ready for the first batch come Monday...