Perf De Castro

Musician

The Kasilag Guitar Quartet

guitar, recording, lutherie

Leo

“Ensconced at the center of the stage, holding his 10-string guitar, classical
guitarist Perfecto De Castro gave everyone in the theater a high (through his
playing) .....” -


The Manila Times

Hailed as one of the best Filipino guitarists by fans and critics alike,
Perfecto De Castro now takes his
career to the World Stage, enrapturing audiences with his adventurous
programming of multi-cultural music.

“An artist of quality and integrity with very refined interpretations”

-

Janet Marlow, Director 1^st
International Ten String Festival

“One of the best guitarists we have today”

-

Josefino Chino Toledo,
Filipino Composer-Conductor

At the core of his repertoire, lies the rich and appealing
blend of Eastern and Western musical influences. From the simplistic beauty of
indigenous Ethnic melodies, challenging rhythms of Folk dances, to
Spanish-flavored Art Songs and contemporary fusion of all aforementioned
elements.

“Personally,
the second half of Perfecto’s recital was my favorite. I particularly enjoyed
the four Filipino pieces. It seems those places where many cultures meet (or
clash) often produce the most beautiful and unique music. I heard echoes of
Polynesia, Indonesia and Europe in these
beautiful pieces. This was my first introduction to Filipino music; I was
surprised at the deep and varied roots of the music. Each piece was uniquely
beautiful, and each very different from the other.”

-
Chris Volak,
GSI Classical Guitar Forum

The Laudarra, or the Ten String Classical Guitar, is
Perfecto’s instrument of choice. Its wider musical range and colorful sonority
transforms each piece and presents them in a different light. The musical
potential of compositions, transcriptions and arrangements are less hindered by
the traditional guitar’s limitations.

“I had the pleasure of watching Perfecto De Castro's live recital DVD last
night. His use of the 10 string guitar was very fluid and clean.

I've often felt that 10 string guitarists were switching from Bass to Treble
parts within a piece to the detriment of the comp