Born in Athens in 1960, he commenced classical guitar studies in 1974. From 1979 until his graduation he studied under professor Notis Mavroudis. In addition he attended a two year private course in theoretical music studies under N. Chronopoulos. In 1987 he graduated from the Conservatory of Attika and was awarded a special prize. In the same year he also graduated from the Athens University Law School. He has attended numerous classical guitar master classes both in Greece and in Germany, under professors W. Lendle, R. Brightmore, R. Aussel, L. Brouwer, P. Galbraith, C. Cotsiolis, as well as interpretation classes under G. Hadjinikos and early music classes under P. Adam. His public performances include both solo recitals as well as chamber music concerts. He has also broadcasted on Greek National Television and Radio. He works as a classical guitar teacher at the National Conservatory as well as at the Conservatory of Attika. His first recording is «Works for violin and guitar» by Chrysanthos Mouzakitis.
Desirous of a more authentic approach to early music, he has moved on from the classical guitar and is currently playing the Baroque lute.
Review on the Goldberg Early music magazine, (issue 41)
Lend your Ears to my Sorrow
Music for lute & vihuela by Dowland, Weiss, Holborne, Mudarra
Many of the works on this disc were once staples of the classical guitarist’s repertoire but are now the preserve of the specialist, for whom playing Renaissance and Baroque music on the instruments for which it was written has in some cases become almost a fetish. This is to be regretted – imagine the piano repertoire without Bach or Scarlatti !
So thank goodness for die-hards like Göran Söllscher (who uses an 11-string classical guitar to perform repertoire from the Renaissance to the present day) and, now, Vassilis Tigirides, who on this CD plays for the most part a 7-string classical guitar to accommodate the music written by John Dowland for an 8-string lute.
Tigirides here focuses almost exclusively on Dowland’s music with works by other composers included to provide points of comparison. To compare Tigirides’s playing with Söllscher’s is natural, and I’m pleased to say that the former exhibits many of the latter’s virtues: lucid phrasing, clean, crisp ornamentation and suitable restrained expression; and if Tigirides perhaps lacks Söllscher’s overall fluency, his tone is far superior. The emphasis on the dance-like quality of many of the pieces is also refreshing: witness the quicker-than-usual tempo of Dowland’s famous “Melancholy Galliard” and the sprightly “Mrs. Winter’s Jump”.
The booklet notes (by Panaghiotis Adam and Tigirides himself) are extensive and informative; overall presentation is also excellent, with some fine Old Master reproductions and facsimiles of lute tablature included; recorded sound is attractive if a little “boomy” at times. All in all, a welcome release. WILLIAM YEOMAN