Hermann Hauser: about the Cambridge venture ecosystem

Hermann Hauser is co-founder of Acorn Computers, Advanced RISC Machines (ARM) and arguably the most distinguished leader of Cambridge’s Venture Ecosystem. Recording of the video discussion: On Thursday 17 September 2020 at 6pm we will meet in central Tokyo. Hermann Hauser- Europe’s venture capital pioneer, and co-founder of ARM and many other companies and investor in unicorns – has very…

US based company Nvidia acquires UK chip designer Arm Holdings at the price of $40bn (£31.2 billion).

US based company Nvidia acquires UK chip designer Arm Holdings at the price of $40bn (£31.2 billion).

ARM is most known for the proccessor chips that is in almost all smartphones including Apple and Samsung. They also make chips for other devices such as laptops.

Four years ago ARM was purchesed by Japaneese Giant Softbank for $32bn.

Nvidia will be paying Softbank $21.5 bn in shares and…

Fünf Kleine Stücke (Five Short Pieces) is my most recent composition, now for sale, click here to purchase a PDF download. I recently paid a visit to my friend Aaron Green where I had the opportunity to play four different Hauser guitars from 1931, 1941 and two from 1959. The 1939 Aaron recently had was sold and not available as the fifth, so we used one of Aaron’s recent guitars which was inspired by the Llobet model of early Hausers. Read more below about my conception and the birth of this new work.

Fünf Kleine Stücke was written for Dr. Daniel Pewsner in thanks for many favors and good friendship. Also for my new found love of Switzerland and its many graces and lovely medieval towns, such as Basel, Bern and Solothurn.

Fünf Kleine Stücke I. Sequenz I II. Basel, 1298 III. Lindenberg, 2017 IV. Durch den Rhein V. Sequenz II

My wife Nancy and I were on vacation in Basel, Switzerland and I had borrowed a beautiful guitar belonging to Dani. It, and the gorgeous 14th and 15th century surroundings, inspired me to do more more than a little technique maintenance while trying to relax (not my forte!). Composing does relax me, and so it went: a morning coffee, a few warmups, then composing, lunch with Nancy at an intimate downtown cafe, then off to a museum, walking the beautiful streets of Basel to get there. On those walks we continually looked for the earliest date above a medieval doorway – the winner, 1298. Thus the title of #2 – Basel, 1298, with appropriate harmonies to that time, many parallel fourths and a spacious flow reminiscent of the long and luxurious reverberation of tones in an all-stone cathedral or chapel.

My dedication of #4 to José Sanchez (another guitarist/friend residing in Bern who possesses perhaps the most beautiful tone I have ever heard!) is based on a trip we took twice to a country chapel on the outskirts of the exquisite town of Solothurn. José grew up near there and had recollections of discovering this magical place some 30 years before – all the while it sat in his memory. I was touched that I was visiting when it occurred to him to take me and Dani there to share his experience. The memory was good – the all stone acoustics were amazing and we soaked up the vibrations in joy and wonderment. On the first visit, a somewhat elderly woman with few teeth, thin, but strong in appearance, entered and asked if we could be quiet for a few moments. Abiding her request, she disappeared into a crypt behind the alter. Our eyes gazed in question at each other upon hearing the bass tones that emerged – wasn’t that a woman? Our question was soon answered by the next phrase that leapt two octaves and more. And so the questions and answers bounced off the walls, floor and ceiling of hard stone. We did ask what language, as she emerged, “my own, they are sounds that come to me.” And the music? “The same – it comes.” She departed, as mysteriously as she had entered, and left us aghast.

The five works are conceived as studies, tone poems they might be called. The prime purpose of any study is to achieve the maximum resonance of the guitar with beautiful tone in any technical circumstance. So a study takes a particular pattern and repeats it a bit more than normal. The several problems presented here are: scales with slurs, thus the two “Sequenz,” or sequences, that are inspired by the medieval form, and feature long scales with slurs, slurs that need to be incorporated into the flow, or pattern, with strength, clarity and fluidity; Basel, 1298 and the following Lindenberg, 2017 (the street on which these works were composed) focus on im chords, two note intervals, that span all six strings, demanding the right wrist be fluid and accommodate all strings so that the tone remains consistent (though variable as dictated by musical demands or inspiration); and the third major focus is simply melody and accompaniment, though in #4, Durch den Rhein, the melody constantly shifts between bass and soprano.

On this last point, I would comment that I have a rule that is essential to my particular style of playing: ALL melodies should be played rest stroke. Now, you may immediately react, “how old fashioned!” But I would have you pause for two seconds and reconsider. Every rule MUST be broken, so I by no means ever achieve this goal. But, even if it is totally impossible or impractical to play a note rest stroke. it is crucial that you try, that you practice it this way. Why? To get that lovely rich sound in your ear. If the ultimate decision is to play free stroke, you have been informed by the attempted execution of rest stroke, and your ear has been infected by that sound. You may want the melody to be soft and wispy, slightly or emphatically ponticello, where rest stroke feels to heavy and punchy. Great – do it. But I have witnessed too many great guitarists playing the opening phrase of Villa-Lobos Prelude #1 free stroke – it sounds weak – it can never achieve that full cello like quality that must be used. Imagine a cellist bowing across the string without wanting to press the string too hard! Shifting between rest stroke thumb and rest stroke finger demands flexibility of approach, particularly in the wrist, but also demands sensitivity in the fingertip/nail connection and arc of the fingers.

Enjoy!

Copyright ©2017 Frank A. Wallace Cover photography and design by Nancy Knowles All rights reserved.

Omaggio Frank Wallace Gyre Music Finding new colors in Segovia’s repertoire

This “tribute to the legacy of Segovia” (i.e., pieces associated with him) is played on a 1931 Hauser and recorded in a church, so there is plenty of natural reverb on the recording.  Wallace begins with Villa-Lobos’ first three Preludes, well-known to most, but what is unexpected is his presentation of some details in a slightly different way, which I found quite refreshing.  The Manuel de Falla Omaggio that comes next moves a little faster than a lot of interpretations and is full of power and drama. Turina’s Garrotín and Soleares are wonderfully played.  It is such a shame that Turina’s guitar oeuvre is so tiny, as these pieces are exciting and consistently entertaining.

Four pieces by Tárrega follow, all lovely miniatures, including Adelita and the famous Capricho Arabe, which receives a particularly lively and dynamic performance. The only slightly unconventional addition to the recital is a set of variations on El Noi de la Mare, so beloved in Llobet’s magnificent version.  Here, Wallace treats this lullaby to a constantly surprising set of emotions, many of them definitely not very lullaby-like.  This is Wallace’s own homage to both Llobet and Segovia.

The recital finishes with one of the finest pieces Segovia had written for him, Federico Mompou’s Suite Compostelana. Wallace’s interpretations are quite telling, as here, too, he manages to find fresh ways to play this suite.  This is altogether a wonderful album, beautifully played. – Chris Dumigan, Classical Guitar Summer 2017

Listen and Purchase

“Gyres” by Nina Krebs [click on photo to see more] –

I met Nina at the Long Island Guitar Festival two years ago. She’s an artist, a fan, and a lover of all things beautiful. Nina posted several new drawings recently and I had to grab them since each is full of gyres – the circular squiggles. She also wrote me a beautiful response on hearing my new CD a couple of weeks ago and I suggested she fill it out a bit and post as a “review”. So here it is…

Everything about this work of art is beautiful: the lush multi-layered painting on the cover, the sensuous photo of the Hauser inside, the love letter to your mentors, the recorded sound quality, the music and humanity. The music is exquisite; a selection of works that were dear to the iconic guitarist Andrés Segovia as well as a dramatic set of variations on the famous tune Noi de la Mare. Called Dreams on a Lullaby, Wallace’s own composition is perfect for inclusion.

OMAGGIO sat on my desk for a few days, and I enjoyed looking at the cover. Last night I opened it and played it straight through. I was transfixed – did not move. That was not my intention, but I couldn’t tear myself away, and when it ended I hoped for more. Only listen to this work if you have time to devote to cascades of notes, cadences and accents so delicately placed you might miss them if you breathe.

The music flows from its creators through the magic fingers of Frank Wallace. His soul is in the music, and he is unembarrassed by that vulnerability.  The artist’s attention to detail is a gift, one which allows the listener to completely surrender to the performance. The clarity of the playing, the trills and runs that tumble and fall with grace and resonance, carry the music forward intentionally. The Hauser guitar, with its intricate history and depth of soul, embraces the history of music, and hopefully the future.

OMAGGIO coalesces a particular repertoire, a history-laden instrument resonant beyond belief, and an artist who loves it all and pours his musicality as well as exquisite technique and attention into this work. The CD is presented artfully; Nancy Knowles’ cover painting is a perfect touch along with photographs and liner notes that highlight a spare conceptual homage to a particular history of classical guitar music.

The depth of Wallace’s knowledge, commitment and experience shimmer through the sound. Sometimes perfectionism pays, and this is one of those times. In addition to my pure pleasure in listening to the music I find inspiration to push for my best in the work I’m doing now. Thank you. Congratulations on a fine contribution to world art. – Nina Krebs, 1/16/17

Purchase you copy or link to downloads here: BUY OMAGGIO