New Latin-American Music for Guitar

I will be in NYC to perform music from my latest album "Códices" which includes studies paying tribute to Latin American composers of the 20th and 21st centuries. As well as the music of the famous Colombian composer Ernesto "Teto" Ocampo, his music is inspired by the indigenous music of the "arhuaco" culture of the Atlantic coast of Colombia. Extraordinaire local Violinist Madeline Hocking will join me for a very special guitar-violin duets.

Etudes I, II, III, V, VI, VII - Daniel Reyes Llinás

Elogio de la Danza - Leo Brouwer

Cheveri Vari Soyana (Y se fue solito) -
Gallina Pollimodal - Ernesto "Teto" Ocampo

Cafe 1930 -
Nightclub 1960 - Astor Piazzolla

Join us, it will be a special musical evening;)

About the musicians:

Daniel Reyes Llinás, born in Bogotá, Colombia, commenced his formal guitar training with Carlos Castilla, subsequently pursuing studies at the Universidad de los Andes under Jaime Arias Obregón and Carlos Rocca Lynn. He engaged in masterclasses with artists such as Leo Brouwer, Robert Fripp, and Butch Morris, while also receiving private lessons from Fernando Otero, Mary Halvorsen, and others. Currently, he studies composition and orchestration with Ion Marmarinos and Julien Malaussena.

Performing globally, Daniel co-led the "Parias Ensemble" (2008-2017) in NYC, collaborating across New Music, Jazz, and Contemporary Music. He held the role of resident composer at Teatro Escarlata in Medellín, contributing to their play "1984," with his music featured in short and feature films and dance performances.
Now based in Portland, Oregon, Daniel is a member of the experimental ensemble Ex.tra.di.tion. His recent releases include "String Schemas," featuring Elliott Sharp and Harvey Valdes, and the solo guitar album "Códices," co-produced by Trey Gunn. Daniel is recipient of the Regional Arts Culture Council in Oregon and The Center for Contemporary Arts (NYC)

Hailing from Qathet, Canada, Madeline Hocking is a violinist, violist, composer, and artistic director committed to giving contemporary music the attention and passion it deserves. She thoroughly enjoys collaborating with composers on world premieres of their works, as well as interdisciplinary projects involving improvisation and electronics. Madeline is a member of the Boston-based Semiosis Quartet, an ensemble dedicated to new music, and co-founder/co-artistic director of Noise Catalogue, an award winning collective based in New York City. She also co-hosts an ongoing concert series with violist and composer Trevor New, ‘Telematic Collisions’, which employs cutting-edge technology to maximize audience interactivity and accessibility.

Madeline has achieved widespread recognition as both a chamber music and soloist, having soloed with the American Composers Orchestra, the San Francisco Conservatory Orchestra, the Vancouver Philharmonic, the Strathcona Symphony Orchestra and the Comox Music Centre Orchestra. She's been featured as a chamber musician in the New York Philharmonic's 'Nightcap' series, and as a solo performer at IRCAM forum, as well as being featured at Lincoln Center, Carnegie Hall, National Sawdust, the Banff Centre, the Bang on a Can Marathon, and countless festivals across North America. As a composer, her works have been performed at venues across the US, Canada, and Hungary. Madeline received her Bachelor's degree from the San Francisco Conservatory of Music, and a Master's degree in contemporary violin from Manhattan School of Music.

“Códices” is the latest album by Daniel Reyes Llinás comprising eight études on Spanish guitar and four improvisations on the 12-string. The pieces are quietly virtuosic with a scope that ranges across continents and eras. The music pays homage to the pantheon of Latin American composers who have written for guitar while also incorporating harmonies from contemporary jazz and such American and European composers as Feldman, Debussy and Stravinsky. Extended techniques appear as well with harplike harmonic arpeggios evoking windchimes, wide melodic leaps as if from birdsong, and driving ostinati that groove hard. One hears free-flowing ballads that turn questioning or flamenco fanfares that expand into ecstatic looping pull offs. A brilliant record that opens new vistas for both the listener and the classical guitarist. -Elliott Sharp