Harold Gretton

May 23, 2020
7:00 pm
Livestream
Melbourne (AEST)
Harold Gretton
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IMPORTANT COVID-19 NOTICE

Due to public health concerns, live events have been cancelled all across the world.

In fact, the entire 2020 concert season for the Melbourne Guitar Festival is now shut down.

The Melbourne Guitar Festival is my only income, as my wife Amy is not working due to our 7 month old baby.

Our year has been thrown into financial disarray.

Many artists and event organisers will now be out of work for an unknown period of time.

If you wish to purchase a ticket to view the this exclusive digital concert, please know that you will be greatly helping support the artists involved and also my work with the Melbourne Guitar Festival.

Thank you for your support and understanding during these difficult times.

All proceeds will be split 50:50 between the artists and the Melbourne Guitar Festival.


Absolutely amazing … [he] mesmerised the audience with his playing. Everyone listened in awe during his Concerto de Aranjuez and the olés and standing ovation were well deserved.”
– Lynn Mills, of Harold’s performance at the Canberra Symphony Orchestra Proms concert.

Classical guitarist Harold Gretton brings a diverse mix of masterpieces to life with an interpretive approach founded as much on raw passion as on thorough research. Not only interested in discovering new repertoire, he is equally at home rediscovering older classics. His unique vision is enriched by historical information in all of the virtuoso works he performs.

This program begins with the classical elegance of Fernando Sor, whose Variations of a Theme by Mozart has earned its place as one of the favourites of the repertoire. It continues with a work by Sor’s star pupil, Napoléon Coste, who wrote what is certainly one of the most charming works of the 19th Century, the Rondeau de Concert.

The centerpiece of the program will be a tour of modern guitar writing, starting with the highly-evocative Cloudforms by much-loved Richard Charlton. The Prince’s Toys by Russian Nikita Kishkon provides a bleak and dramatic contrast, and is followed by Samuel Smith’s Mutant Frames of Reference, a 21st Century take on the Romantic virtuosity of composers like Coste.

The vibrant virtuosity of Paraguayan Augustin Barrios closes the program, leaving us with a couple of melodies to sing long after the concert finishes.

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