On Saturday, October 28, 1998, the Philadelphia Classical Guitar Society presented the Los Angeles Guitar Quartet in concert in the majestic sanctuary of the Church of the Holy Trinity. It was an evening that expanded the imaginations of classical guitar enthusiasts, both players and listeners. These individual virtuosos, John Dearman, Bill Kanengiser, Scott Tennant, and Andrew York integrated so completely that they became one instrument of seemingly endless talent and skill. Their relaxed demeanor gave not a hint of a serious concert, but a feeling that we perhaps dropped by to hear a flawless rehearsal.

      The program began with a beautifully interpreted transcription of the overture of Rossini’s opera, II Babiere di Seviglia which was arranged for LAGQ by John Dearman. It was clear that this was going to be an incredible experience. Then in keeping with the spirit of the group’s current CD release entitled LAGQ, the audience was treated to an international tour of interpretations of traditional and new music.

      Our first stop was West Africa with Mbira by William Kanengiser. Staples placed on the guitar strings simulated the sounds of the finger piano. Amazing! The melodies and harmonies of Djeme by Andrew York, danced over the mimetic rhythm of the West African hand drum for which the piece is named. Next on the world tour was Uarekena by Sergio Assad (yes of ‘The Assads’). This composition took us to a Indian village setting in the Amazon. Pacific Coast Highway was written by Andrew York for a Scottish guitar festival, so as the audience felt the Pacific sun and envisioned the Pacific ocean, we heard what Scott Tenant described as a demented bag piper in the mix.

      Two of the group’s favorite pieces, La Fiesta de la Tiarana and the lively Tarantella are Scott Tennant arrangements of Horacio Salinas compositions that have been recorded by the Chilean group Inti-Illimani. The journey took us to Indonesia with Gogan by Bill Kanengiser. The guys attached alligator clips and other office amenities to their strings to create an amazing transformation from plucked strings to gongs and xylophones. Passages by Andrew York journeyed through musical genres such as popular, rock, and jazz with classical structure. This listener had a sense of floating as their fingers glided skillfully over the strings.

      On the next to the last scheduled stop of this international tour we visited Scotland with a Scott Tenant arrangement of the Peter Maxwell Davies composition, Farewell to Stromness. Written to protest the threatened destruction of a town by uranium mining, the song was pensive, quietly mournful; like a good-bye to something beautiful. How appropriate, as the group prepared to play the final selections.

      They dazzled the audience with Aragonaise, Habanera, Seguidilla, Toreadors, Entríacte, and Gypsy Dance of Georges Bizet’s opera Carmen arranged by William Kanengiser. It was difficult to observe concert decorum, maintaining silence between each selection of the suite, so as the fiery, ever increasing tempo of ‘Gypsy Dance’ climaxed, thunderous applause erupted from the audience as we rose to an accompanying standing ovation. Even during the encore, The Pachebel Loose Canon, they explored every guitar style from classical, to popular, to jazz, to rock, to country, to Latin groove. What a phenomenal concert! It was truly out of this world!