Tilman Hoppstock: “Our Job as Teachers Is to Bring More Exciting Perspectives to Our Students and Challenge Them to Be Creative With What They Do”
In this interview, guitarist, cellist, and musicologist Tilman Hoppstock (Darmstadt Academy of Music, Germany) explains his experiences researching music, transcribing, and performing in the 21st century.
Juan Manuel Cañizares: “Every Concert With Paco de Lucía Was Like a Masterclass for Me”
Cañizares is the only flamenco guitarist who has played with the Berlin Philharmonic. He was trained in the “peñas” (flamenco clubs) of Barcelona in the 70s as well as the conservatory. He worked for a decade with Paco de Lucia. His transcriptions of classical music are famous, as are his own compositions. In this exclusive interview for Guitar Magazine, we talk to him about it all.
Iván Rijos: “Some People Can Play a Single Note With Such a Tremendous Value That It Reaches the Deepest Part of You”
In this interview, Maestro Iván Rijos (Conservatory of Puerto Rico) discusses the evolution of guitar teaching.
Gaëlle Solal: “People Want to See Who You Are, so There Is No Use Trying to Hide Behind Your Guitar”
French guitarist Gaëlle Solal shares her thoughts on her latest album "TUHU," the response it has received from critics, and the future of the guitar in the classical world.
Richard Patterson: “Treat Artists Like They Are Important, Not People Who Are Just There to Make You Money”
Richard Patterson talks about how the Omni Foundation for the Performing Arts got its start, and the future of presenting and organizing in the wake of the pandemic.
Xuefei Yang: “The Chinese Contribution to Art and Culture so Often Gets Totally Overlooked”
Chinese guitarist Xuefei Yang talks about her experiences as the first major guitarist in China, living in London as a classical musician and performing in a 15th century Chinese Temple during a global pandemic.
Koen Claeys: “If an Audience Can Relate to the Music You Are Playing, and You Play It Well, You Have Done Your Job”
Koen Claeys discusses some of his thoughts on chamber music, commissioning new works, and reaching out to new audiences.
Marlon Titre: “Instead of Assuming Students Will Just ‘Figure It Out’ in the Professional World, the Challenge of the Conservatory Is to Decide What Courses We Can Provide to Make Sure Musicians Are Prepared For the Future”
Marlon Titre, Director of the Classical Music Department at the Royal Conservatory in The Hague, shares his thoughts on what role institutions have in shaping the future for young musicians.
René Izquierdo: “Asking a Freshman to Tackle a Concerto That’s Out of Their League Is Like Asking a 2nd Grader to Do Trigonometry”
René Izquierdo, Professor of Guitar at the University of Wisconsin-Milwaukee, shares his experiences as a musician in the United States and abroad as a teacher and performer.
Judicaël Perroy: “I Try to Forget Myself During Teaching, Arguably One of the Most Difficult Things to Do”
Don't miss this interview for Guitar Magazine with Judicaël Perroy, one of the leading names of the French classical guitar, with whom we chatted about his career, our instrument, and pedagogy.
Sean Samimi: “A Music Business Education Takes Place on the Job at the Management Companies, Not in School”
In this interview for Guitar Magazine, Sean Samimi (Aranjuez Artists) reflects on his education and time in the music business industry.
Silviu Ciulei: “Every Student Is Different, so You Really Have to Invest In Every Student”
We are pleased to bring you to Guitar Magazine this interview with Silviu Ciulei, an outstanding classical and flamenco guitarist awarded in many international competitions, currently a professor at the University of Florida.