Multi-instrumentalist, Nathan Kolosko performs and composes music that is both original and eclectic. Music that embraces a wide breadth of repertoire and genres, while melding ancient traditions with contemporary approaches and sensibilities. His compositions have been performed and recorded by musicians around the globe and are currently published by Doberman-Yppan & Productions D'Oz.
Nathan's recordings have gained the attention of numerous critics. "A high-octane agenda from a guitarist with the skill, imagination, and confidence to bring it alive." - Classical Guitar, London. Collaboration is a source of inspiration for Nathan. His collaborators have included musicians Carl Dimow and Dan Cosley, visual/performance artist Ling-Wen Tsai, and the middle eastern ensemble Zapion.
Nathan has been the recipient of numerous grants and awards, including grants from the Allied Arts Foundation and D'Addario Strings.
Nathan is a dedicated teacher, devoted to helping his students achieve their own personal musical goals. Nathan has taught private and group lessons for over 25 years on topics ranging from Classical Guitar to the music of The Beatles. He has published several pedagogical works and composed numerous compositions specific to his students needs.
TONADILLA for solo guitar
by Nathan Kolosko
Starting with a brief, but arresting, introduction of a slightly dark nature with Spanish undertones, Tonadilla soon gets underway with a doubling up of tempo and grows from a delicate melodic line performed in harmonics into a more substantial composition where, eventually things hot up with the odd rasgueado and cascading triplets culminating in a short and tranquil echo of the beginning of the work before an explosive brief bit of strumming concludes the piece abruptly.
Throughout Kolosko utilises some splendid harmonies and good melodic invention reminiscent of the likes of Granados and Turina.
The piece is good enough to be included in any formal concert repertoire although placement in the programme may be restricted due to the piece’s brevity.
A well presented publication, neatly fingered and of around the Higher-Intermediate standard.
Steve Marsh (Classical Guitar Magazine)