A man in black played his guitar Sunday afternoon before a packed audience at Trinity Episcopal Church, but it wasn’t Johnny Cash and he didn’t sing.

Rather, at this installment of the Ilse Newell Fund for the Performing Arts concert series, classical guitarist William Feasley filled the sanctuary with rapturous textures from an accoustic instrument you might not have imagined was capable of such a variety of sounds.

In a concert titled “Echoes of Goya,” Feasley conjured with his chords, and his dexterous alternating of keys and rhythms, a beguiling homage to the great Spanish painter. Feasley was without the slideshow of works by the 18th century Spanish romantic painter that often accompanies concerts on this year’s tour, but it hardly made a difference. Feasley’s hands did all the painting that was needed.

After an introduction by Barry Hand, a member of the concert series’ board of directors, in which he outlined Feasley’s international stature, the guitarist sat center altar, and without a microphone sent forth a full-bodied river of sound.

He opened with works by two contemporaries of Goya, and then played the Intermezzo from “Goyescas,” an opera written by Enrique Grenados about 80 years after Goya’s death.

The remainder of the program were all 20th century works, including one, “El Tango Negro, written by Marcelo Ferraris especially for Feasley.

Feasley’s guitar, handcrafted for him by Randy Angella of Concord, California, delivered a sound, bold, tender and at times delicate that delighted the audience.

The concert series’ next performance is Sunday, April 7, with a spring concert by the Bay Area Choral Society.