JOHN GRIFFITHS
performances – recordings – teaching
The Echo of Orpheus
To 16th century Spanish musicians the vihuela was the spiritual reincarnation of the ancient lyre and an evocation of Orpheus, its greatest legendary exponent. John Griffiths presents an intimate selection of Renaissance fantasies, variations and dances by Spanish composers inspired by this mythological legend. Includes pieces by Luis de Navarez, Esteban Daza, Enriquez de Valderrábano, Luis Milán, Alonso Mudarra and Miguel de Fuenllana.
Press quotes:
“This outstanding early music recording is the finest Australia has yet produced.” — Soundscapes
“brilliant ... spellbinding pieces” — New Classics, UK
“In the skilled hands of Griffiths, the 12-string instrument produces exquisite sounds.” — Sunday Herald Sun
John Griffiths plays medieval and renaissance lutes, vihuela, baroque guitar, theorbo, chitarrone, and 19th-century guitar. As a soloist and in ensemble he has performed and broadcast on radio and television in Argentina, Australia, Chile, Cuba, England, France, Germany, Greece, Hong Kong, Italy, Portugal, Spain, and the USA.
As he has become increasingly specialist in his research work, solo programs are strongly based in the areas of his own research. Recent programs have explored rare areas of the vihuela repertory, the links between improvised and composed lute music, the Neapolitan lute repertory that he has been bringing to public attention in his recent projects and publications in his joint work with Dinko Fabris, and the music of the earliest published lutenist, Francesco Spinacino, and lute music in renaissance Rome.
He has also taught on a regular basis at summer schools and specialist courses such as the Festival internacional de la guitarra (Córdoba, Spain) and the Curso internacional de música antigua de Daroca (Spain).
John Griffiths’ recordings are available from Move Records.
He is also a founding member of the early music ensemble La Romanesca.
Press reviews
El arte íntimo de John Griffiths
La presencia de John Griffiths es una constante ya en el Festival Internacional de la Guitarra de Córdoba. Su prestigio como musicólogo y el valor de sus interpretaciones en la vihuela y la guitarra barroco le han convertido en un referente esencial en el panorama internacional de la música histórica… De ahí que su presencia sea siempre bienvenida y de agradecer. Su recital del pasado viernes en el Gran Teatro nos brindó de nuevo las excelencias de un arte interpretativo muy refinado y selecto. En verdad, sus versiones de Luis de Milán, Enrique de Valderrábano, Gaspar Sanz y Francisco Guerau dejaron buena prueba de ello… Tres fantasías del libro El Maestro de Luis Milán abrieron en programa lleno de exquisiteces e intimismo, el cual brindaba enmarcado en la evolución de la fantasía a la folia, como desarrollo estilístico de dos formas más genuinamente instrumentales y exponentes de las estéticas renacentistas y barroca. Lirismo contenido el de las piezas de Milán, al que siguió el contrapuntismo entretejido de varias obras de Valderrábano, de texturas más intrincadas y dificiles que las amables páginas del músico valenciano. Luego, con la guitarra barroca y un mundo más extrovertido, cuatro piezas de Gaspar Sanz, en las que el elemento danzable inspira un discurso musical muy plástico, en suma a la tres obras del Poema Harmónico de Francisco Guerau, con que cerró su actuación el músico australiano.” Diario de Córdoba
John Griffiths, excellent performer of the sixteenth-century vihuelists. The Australian artist offered a most interesting programme throughout which he demonstrated his knowledge of the secrets of vihuela interpretation, playing with sensitivity, delicacy, precision, and great musicality. For those moments we were transported to a previous age and we were able to experience, thanks to the work of this young Australian from the University of Melbourne, something of the musical atmosphere of Valladolid in the 16th century. The audience listened with unusual interest to the performance and commentry of the artist whom they rewarded with an enthusiatic and prolonged ovation.” Norte de Castilla (Valladolid)
“John Griffiths played...not only with great vitality but with what seemed to me to be a complete mastery of the idiom.” Melbourne Herald.
“If anyone is going to fill out the bare bones that constitute medieval manuscripts, then it ought to be a musician with Mr. Griffiths’ discernment and background.” Melbourne, The Age.
The Music of the Fourteenth Century
Vol. 1 Two Gentlemen of Verona
Vol. 2 Every Delight and Fair Pleasure
Vol. 3 I am Music: Francesco Landini
“The performances have a fine flow and an impressive clarity ... it has opened my ears” — Early Music News, UK
“a satisfying mixture of scholarly research and musical inspiration ... is of particularly good value and worth a listen by the general collector.” — Australian Music Teacher
