Daniel Nistico is a most admired and highly accomplished classical guitarist who is deeply immersed in the performance of 18th and 19th century music, specialising in refreshingly new interpretations, and bringing much originality to both re-shaped classics and new repertoire. After living and studying in the USA for some time, he has returned to Australia, giving his first recital Down Under, in a new multi-purpose performing space, Richmond’s Concrete Boots Bar, a title rather misleading for a very welcoming, intimate venue, most comfortable for an audience of all ages.
Not only were familiar masterpieces by Bach, Chopin and Mozart central to tonight’s program in original and re-imagined forms, but arrangers and creative modern-day performers were represented, adding new colour, orchestration, harmony and improvisation to draw bygone eras into new music today.
Nistico’s program opened with “Baroque Inspirations”, his first piece full of dazzling finger toccata style improvisatory patterns and highspeed finger picking imitating the lines of keyboard Baroque flamboyancy and style, yet full of heartfelt expression. A well-known theme emerged from this well-crafted arrangement by Japanese guitarist Hirokazu Sato. Listed as one of the 500 Greatest Songs of All Time, Eric Clapton’s Tears of Heaven, with its signature haunting themes and harmonic structure, magically wove its way through a Baroque setting. J.S. Bach’s well-known Prelude from the Suite BWV 1006 followed, with a fine display of perpetuo moto – a forthright, flowing and virtuosic accompaniment under a richly defined melody. A Fugue and Gigue composed by Nistico was most exciting, often with two to three melodies in counterpoint, heard with admirable clarity and colourful timbres. In a dancing Gigue, accelerations with rapid tremolo repeated fingerwork were breathtaking.
A second set of music by Chopin was always expected, given Nistico’s recent recording of his “Chopin for Guitar” album “where melody and feeling reign supreme”. We are so accustomed to hearing Chopin on the piano, and many people have come to know Chopin through the dance, experiencing the rhythms and tempos of his stylised dance forms in popular ballets and films. But hearing Chopin on the guitar “transports us to another place” and Nistico’s detail and shaping of phrases was most personal, intimate and new. Throughout history many guitarists were self-taught and so nobody told them that great piano pieces were impossible to play on the guitar. Francisco Tarrega’s arrangement of Nocturne Op 9, No 2 evolved with a strongly forthright and rich vocal melody, freedom in space allowed a sensitive lyricism as melody and bass voices made us imagine two guitars were playing, not just one. At times we could even imagine three stringed instruments.
Nistico spoke of his admiration for Mario Parodi, born to Italian parents in Istanbul, also a self-taught musician, who championed arrangements of Liszt, Brahms and Beethoven. Parodi’s arrangement of Chopin’s Waltz Op 64 No. 2, a piece known to every piano player indeed, again gave us a splendid and refreshing experience. Light, sensuous, free from the “tyranny of the bar-line,” repeated themes were given such a rainbow of colours and new timbres. Nistico’s own composition Mazurka No 1 was a delight, respecting the traditional elements of the mazurka rhythm in the opening theme, then developing a fresh and evocative new story line. Elegant, sensual and flowing, a new balletic melody rose, turned and leapt and danced, shaping the spiritual essence of the traditional dance within a contemporary structure.
A third set took us to the combined heritage, recollections and sights of Spain. “Fantasia Original” by Jose Vinas revelled in percussive fortissimo chords, a steely flamboyancy of fingerwork and the passion of true Flamenco; emotive upper gypsy melodies and characteristic tremolo effects added warm mellow tones. During COVID, Nistico established a highly productive on-line guitar school focussing on original composition. From the many original compositions that resulted, he performed an on-line concert of these very accomplished and varied pieces. How proud a moment for developing students and composers.
Tonight Nistico shared two complex and advanced new “student” works. Inspired by their travels in Spain, Peter Budd’s “Milonga” was a fine tapestry of Flamenco ideas, syncopated dance music and gypsy folk melodies. His wife Trisha’s recollections inspired her work “Camino de Luz” (Path to the Light), a joyful piece with soaring melodies and intricate fingerpicking patterns, reflecting the spirit of travel and new wonders.
Nistico closed the program with Fernando Sor’s Variations on a Theme by Mozart, a virtuosic work beginning with a Spanish Waltz form, aria-like tunes imitating a poetic lute, and wonderfully varied dynamic settings taking us across the centuries with beauty and innovation.
As we celebrate many fine composers old and new, we perhaps overlook the instrument makers. It was a special and generous moment for Nistico to welcome his guitar maker, Roger Li, who was also a “self-taught” craftsman, tonight given well deserved applause.
Photo supplied.
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Julie McErlain reviewed the classical guitar recital given by Daniel Nistico, and presented by Ting Lo Music at the Concrete Boots Bar on March 30, 2025.
