Reviews |
About Six on Two |
I assume that this recital was recorded during 2006. Phelps is an Adjunct Teacher
of guitar at Williams College and has been now since 1990. He's versed in jazz as well as the classical repertoire and he's published
books on technique and also, with Fernando Valenti, six transcriptions of Scarlatti Harpsichord transcriptions. This being so it's a
bit remiss of Gasparo not to identify the particular transcription Phelps plays on this disc.
The recital ranges from Scarlatti and Sor to the contemporary charms of Schoenberg (Steven) and Golub who were both born in 1952.
The Scarlatti is convincing and pliant whilst the Sor Op.20 - which if memory doesn't defeat me Julian Bream tended to pass over
in favour of some of the other Sor variational challenges - is well characterised. Phelps strikes a rather classical position here
which I think quite right for though he plays warmly he never neglects the spine that runs throughout and nor does he promote a romanticised
view at the expense of stylistic probity.
Lauro's Valse Venezolano is a collection of three small, languid and colourful pieces, old fashioned in the best sense and an ear-pleaser.
Schoenberg's Lullaby and Fantasy has an infant inspiration as one might infer and makes for delightfully rocking listening especially with
its baroque tinges. Golub has crafted three short pieces, little Interludes that describe the changing times of the day (Day Break, Mid-day,
Lullabye, as spelled). They range from singingly chivalric to the unaffected generous, pleasurable additions to the lighter repertoire.
Britten's Dowland-inspired Nocturnal, so reminiscent of Lachrymae is the great masterpiece here. I liked the way in which Phelps evokes the
nagging insistence of the third movement (Restless) and the way he elsewhere conveys the unsettled and the insistent. Greatest emotive weight
naturally is reserved for the long and involvingly complex Passacaglia finale.
With good sound quality, Phelps proves a handy guide to this repertoire, not least in the Schoenberg which was dedicated to him.
It's a miscellaneous programme that reflects his interest in new editions, new work and core classics.
-Jonathan Woolf, Musicweb International 2006 |
About Music for Flute, Oboe & Guitar |
This latest release by Trio Sonata [Anton Kuskin, flute; Judith Dansker, oboe; Robert Phelps,guitar]
follows in their tradition of mixing old and new styles and periods of music. The programming is eclectic and
highly enjoyable with a mix of solos, duos and trios.
The Lauro works are well known to almost all guitarists and remain perennial favorites. Phelp's rendition is
less boisterous than some, bringing out more of the lyrical quality that hides inside all Lauro's works,
even the most rhythmic. His approach is in keeping with the overall tenor of the disc.
The Handel Sonata is a lovely choice to end the disc. It has great expressive variety, showcasing
the ensemble's cohesiveness and taste.
The recording quality is very good with enough "room sound" to give the impression of space, but not
so much that clarity is sacrificed. The overall sound is slightly distanced with a live-performance ambiance.
The balance between instruments is excellent with no sense of artificial heightening of the guitar to bring it
to the level of the other instruments. We are also not given the impression that the flute and oboe are holding
back to accommodate the guitar's slightly more limited dynamic range. The CD is a polished and enjoyable
addition to the discography of the guitar.
-John Holmquist, Soundboard - The magazine of The Guitar Foundation of America |
Concert Review |
...Phelps was more prominent here, effectively drawing the hot,
dance-inflected Spanish sounds that raise the temperature on this little piece.
Richard Riley, Springfield Union News February 12, 1988
Once again I was fortunate to witness a wonderful display of talent, character, and classical music.
This past Wednesday, Oct. 13, nearly 150 people savored an appearance by Robert Phelps, classical guitarist from
Williams College ... His mastery is immediately apparent to any listener.
Ed Baker, The Beacon October 21, 1993 |
About the Guitar Workbook |
Robert Phelps' idea, to bridge the beginner's learning of the fingerboard with an attempt to
sharpen his tonal perception, might save the guitar student a few wasted years.
It is the result of an intelligent effort, to bring to the surface two of the most essential aspects of playing
made by a devoted and successful performer and teacher.
-Oscar Ghiglia, March 1985
I am writing to give my strong endorsement to the guitar book authored by Mr. Rob Phelps.
This work is a reflection of his imaginative approach to teaching, and is based on years of experience
gained teaching at various levels, including five years at the University of Massachusetts.
Mr. Phelps' book is a unique and valuable addition to current texts, filling a gap in the guitarists
training which other methods do not. His book combines ear training, and elementary aspects of theory
in an experimental approach, so the developing guitarist applies his newfound knowledge directly to the
instrument. This integrates the learning process, and quickly advances the student's musical skills and
confidence.
Mr. Phelps skill as a writer will enable him to expand this concept into a series of texts which will
address the guitarist's need to combine practical and theoretical concerns at all levels, from a more
simplified version for young students, to advanced books with examples of musical events selected from
the repertoire.
In my opinion such a group of books would have great appeal to teachers in Music Education programs, as
well as to every music teacher who is concerned about the musical skills of his students.
Additionally, I would add that Mr. Phelps is himself a very talented guitarist, and an experienced
performer who is sensitive to the needs of the professional for a firm background in all aspects of
music making.
Robert Guthrie
Professor of Guitar
Yale University
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About Six Transcribed Scarlatti Sonatas |
The search for adaptable Scarlatti Sonatas goes on and
having spent the past few months sifting through numberous volumes of these pieces for a forthcoming Schott
publication I was very interested to see Robert Phelps' selection. We have both included K.480 but have quite
different approaches to registration and fingering. The pieces in the current group, K.480 plus K.164, 479, 499, 500,
and 522 work well although a fair technique is required for some of the quicker items. K500, for example, is
marked Allegro and contains a considerable number of bars comprising running parallel thirds in eighth-notes
- not too easy at anything above a moderate speed and I imagine hearing this performed by a competent harpsichordist
might prove to be rather soul-destroying. Nevertheless it's a good piece and worth a struggle - likewise the remainder.
Commendably Phelps has, as far as I'm aware, provided us with previously unpublished pieces.The Notation is crystal
clear and left hand fingering is provided where it's considered to be necessary. It all amounts to a good, accurate
addition to the workable Scarlatti Sonatas currently in print.
-Raymond Burley, Classical Guitar June 1995 |
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