Entries by Marco Sartor

New recording by Marc Regnier to be released in June

“Tempo do Brasil,” the new recording by Marc Regnier, will be released on June 9 on Reference Recordings. Marco wrote the album’s liner notes and joined Marc Regnier in Sergio Assad’s “Tres Cenas Brasileiras.” Pre-order on Amazon here.

CD and Book of Juan F. Acosta

Congratulations to Hermelindo Ruiz for rediscovering the Puerto Rican dances of Juan F. Acosta (1890-1968). Marco is featured on two dances in the CD: Un Atraco and De Pura Cepa. You can buy the CD here.  

Indianapolis, Florida and Alabama concerts and masterclasses

March was a busy month, first performing Vivaldi and Villa-Lobos concerti with the Indianapolis Chamber Orchestra under the baton of Mtro. Gil Jardim, followed by solo concerts and masterclasses at Wallace Community College (Dothan, AL), the Seven-Hills Guitar Series/Florida State University (Tallahassee, FL), and the University of Central Florida (Orlando). Thanks to all who made […]

Regina Symphony Orchestra

Many thanks to the Regina Symphony Orchestra for hosting Marco this past weekend. Marco performed Joaquin Rodrigo’s Concierto de Aranjuez under the baton of Mtro. Victor Sawa. The review by the Leader Post is available here.

Ashland and Akron Concerts

Many thanks to Arie Lipsky/Ashland Symphony Orchestra and Stephen Aron/the University of Akron for hosting Marco recently. Here, the weekend recounted by Stephen Aron.  

Studio: Contextual Interference Effect Applied to Practicing

More on effective practicing–I want to link to this article: Why the Progress You Make in the Practice Room Seems to Disappear Overnight The research by Dr. Christine Carter on the Contextual Interference Effect supports some of the practicing strategies I propose in my column “Performing Exercises” (Soundboard Magazine, Vol.39 No.4).

Developing a Musical Technique

In the wake of the 50th anniversary of Benjamin Britten’s “Nocturnal Op. 70″—and to continue talking about technique—I would like to share a personal experience that happened when I was learning this work. In so doing, I hope to illustrate the importance of thinking about musical goals in the development of our technique. The upper […]