It's always good to see a local boy do good, and hearing Seattle's Daniel Corr perform his first professional concert at home since completing graduate studies at the Yale School of Music was a real treat! I remember hearing Daniel perform at a small coffee house on Queen Ann Hill about 6 or 7 years ago, and have followed his growth with great interest ever since.

     Mr. Corr began this recital with Bach's Prelude in D Major from the keyboard Partita, BWV 825. I must say that it is always refreshing to hear something different of Bach's than the usual repertoire. This particular Prelude was an excellent choice to begin the program with. Of a moderate tempo, it gave the listener a chance to adjust to the sound of the guitar, a nice "appetizer". Though deceivingly intricate, Corr brought out the very lyrical qualities of the work while retaining command of ornamentation. His feeling for Bach was evident here, but demonstrated later to a greater level.    

    Next was William Walton's "Five Bagatelles". Though containing some of the more challenging movements of 20th century literature for guitar, Daniel played them with ease. In the opening "Allegro", Corr again presented the lyrical qualities of the work, also demonstrating his command of artificial harmonics. The "Lento" brought forth a hypnotic sense, which contrasted well with the following "alla Cubana". The final "con Slancio" was fiery and driving, a very fitting final destination for this work.

    The music of Bach tends to be a proving ground for many artists. It can be tempting to do too much with things such as phrasing and ornamentation, yet it can be fatal to do too little. To strike the proper balance, as Corr did with the D minor Violin Partita, is a difficult feat that does not "just happen". He displayed the process of uncovering the "essence of Bach", something that any artist may pursue for all of their life. Corr played with complete confidence, always pushing forward, yet never overtaking the flow. This particular Partita contains a four-movement suite, plus the well-known Chaconne. Daniel gave the first movements their rightful due, paying attention to the intricacies and characteristics of each given dance. The seamless shifts between the flowing 16th notes and ensuing dotted 8ths were especially effective in the "Corrente", as was the lyrical and unobtrusive ornamentation of the "Sarabanda".

    The final Chaconne demonstrated Mr. Corr's emerging maturity as a musician. Though sparsely ornamenting this monumental movement, it again always flowed forward, seeking and finding. I was especially impressed with his regard to the architecture here, many parts compiled to equal the whole.

    The afternoon closed with an Etude by (neglected) romantic composer Giulio Regondi. More people need to play his output, and Corr demonstrated why by giving an appropriately romantic treatment of this moderately tempoed piece, with a very playful use of rubato.

    At a mere 25 years of age, Daniel is in the infancy of both his career and his artistry. This recent recital shows that Corr has promise as an artist that will continue to grow. He shows not only command of technique, but also a reasoned approach to music that is not found in many on this instrument. It will be nice to say, "we knew him when..." If you are not able to attend the SCGS International Series at Benaroya, you have the opportunity to hear other fine guitar performances for free at our series at the Frye Museum (see information on our next offering elsewhere on this website).

                                                                                            Brian Dunbar