Alan Rinehart has made many contributions to the guitar world as a performer, teacher, and music editor. Completing studies at Western Michigan University and a Professional Music Training Diploma from Vancouver Community College, he studied lute repertoire and technique in London, England at the Early Music Centre with some of the world’s most reknowned early musicians including Nigel North, Christopher Wilson, Anthony Rooley, Jakob Lindberg, and Emma Kirkby. His study of historical performance practices led to the ability to play the lute with a softer ‘no nail’ sound and the guitar with standard concert guitar technique.
In 1980 he gave a critically acclaimed London debut which was described by GUITAR INTERNATIONAL magazine as: “consistently clean and musical…he has a pleasantly relaxed stage manner which won over the audience right from the word go”. In addition to many concert recitals, he has performed at international guitar festivals in Toronto and Quebec and on CBC radio and TV. A strong advocate of new music and well as historical repertoire, he has commissioned and premiered major works by many contemporary composers including John W. Duarte, Maximo Diego Pujol, and Canadians Stephen Chatman, Brian Tate and John Oliver.
He has released five solo CDs and one CD with the Vancouver Guitar Quartet that have all received international critical praise. His latest solo CD, ‘Verdi’s Guitar’, is a set of six fantasies on operas by Giuseppi Verdi by the 19th century virtuoso guitarist, Joseph (Johann) Kasper Mertz. ‘Verdi’s Guitar’ will be released on the Ravello label and distributed by Naxos in late Fall 2017.
Alan Rinehart is a co-founder of The Vancouver Guitar Quartet. They became a regular part of the Vancouver and Western Canadian music scene in the late 1980’s with many concert and radio appearances including broadcast concerts on CBC’s ARTS NATIONAL, and enthusiastically acclaimed performances as featured artists in the host pavilion at EXPO 86. After an hiatus of a number of years the Quartet reformed in 1996 and released its debut recording “Estampas” in 1999. The Quartet disbanded in 2003.
Rinehart’s editorial work has included arranging and engraving the guitar performance edition of the Moscow lute manuscript of Sylvius Leopold Weiss for Editions Orphee and compiling and engraving a volume of music by Spanish guitarist A. J. Manjon for Chanterelle-Mel Bay as well as preparation of guitar solo and ensemble music for his own company NovaScribe Editions.
He was a faculty member of the music schools at the University of British Columbia and Vancouver Community College from 1983 to 2003. At UBC, he and Michael Strutt developed one of the most comprehensive guitar performance programs in Canada. He continues to be in demand as an adjudicator, instructor and clinician. His students have won major competitions and have completed advanced degrees in guitar performance and composition and established significant careers in the music world.
After a long time residency in Vancouver, B.C., he moved to Nelson, B.C. in 2004 where, in addition to teaching at the Nelson Academy of Music, he was on the Board of the Nelson and District Arts Council and was the coordinator of the 19th Northwest Guitar Festival, a 3 day event held in Nelson April 16-18, 2009.
While in Nelson, he hosted “the Art and Times of the Guitar”, a weekly one hour radio show devoted to the classical guitar, for 11 seasons (176 shows) on CJLY, Kootenay Coop Radio He is currently living and working in Kelowna, BC
For information about Alan Rinehart please visit www.alanrinehart.com
© 2017 Alan Rinehart all rights reserved
JOSEF (JOHANN) KASPAR MERTZ
Mertz was one of the most important figures in the development of a guitar style that truly reflected the Romantic musical genre. He wrote programmatic pieces and free fantasies on popular or original themes, but it was his collection of operatic ‘revues’ that give the best insight into the world of the 19th century professional guitarist.
The six operas ‘revues’ on this disc include some of Giuseppe Verdi’s (1813-1901) best known arias and are presented in the chronological order that the original opera was first performed. Each ‘revue’ is a medley of introductions, dramatic gestures, arias and their variations. The arias are listed in the order they appear in the ‘revue’, not the original opera.
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