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 and the Maine Arts Commission. 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.

February 23rd Noonday Concert

What : Nathan will be joined by Carl Dimow and Benjamin Noyes in a concert of his own works for solo guitar and trio. The program will include premieres of two new solo works and a performance of the final revised version of his Hungarian trio for flute, guitar and cello.


Where: First Parish Church, 425 Congress Street  Portland, ME 04101
(207) 773-5747

When: February 23rd 12:00 noon, donation suggested 


Program:

Three Curiosities    -  Nathan Kolosko (2012)
Asymmetry
Clown Solace
Blue Arabesque

Hungarian Trio  - Nathan Kolosko (2011)
Prelude
Round Dance
Ancient Melody
Spinning Dance


Dénouement - Nathan Kolosko (2011)

Animus Reus Review






ANIMUS REUS for solo guitar 
by Nathan Kolosko
In recent times there is one composer whose name keeps making an occasional appearance in my review package and that is the American guitarist Nathan Kolosko. In my experience of playing through his music I have never once been even slightly disappointed by his skilful compositions and arrangements and in fact his Dreaming By the Stream (from the four-movement piece Songs from Formosa) has become a firm favourite of mine to perform. 
Animus Reus is probably going to knock Dreaming By the Stream off its pedestal as this has to be one of the most beautiful and emotionally moving solo guitar pieces I’ve come across in many a year. 
Apparently it was composed as a gift for four friends of the composer who had gone through some life challenges and this is well reflected in this slow, lyrical and very expressive composition. The relatively rare tuning of 6th string to low C gives Kolosko the opportunity to obtain wonderfully rich textures throughout the work. This soulful piece would move the most hardened of hearts and I can well imagine it having a stunning impact if used perhaps as an alternative calm encore item. 
Technically it would be manageable for the Grade 5-6 player. 
Highly recommended 
Steve Marsh (Classical Guitar Magazine)

Tonadilla Review





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)
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