Artist Profile and Interview: Julia Trintschuk

If you have not heard the brilliant young guitarist Julia Trintschuk you are in for a treat. Hailing from Germany, Julia has been on stages all over the world and performed Joaquin Rodrigo’s Concierto de Aranjuez at age 16 to launch her career. With a seemingly endless amount of technical skill, a refined and elegant sound, and a natural musicality, her interpretations transcend the guitar. Fortunately for Six String Journal readers, Julia recently took some time to share some of her experience, tips, and advice! Enjoy.

Julia Trintschuk

Personal

When did you start playing and why? Or, what drew you to the guitar initially?

Actually I first started playing piano at the age of four. As my mother was teaching me the piano and my father was always playing the guitar, soon I also became interested in playing guitar and started having the first guitar lessons with my father at the age of four as well. From then on I continued playing both instruments.

What repertoire do you enjoy playing the most?

In general I’m only choosing pieces I enjoy playing and working on, to join my repertoire. But it also depends a lot on my mood and the piece itself. What I like a lot is to have a big contrast and variety between the different pieces, for example a couple of technically very demanding and virtuosic pieces, some musically difficult pieces and a few very beautiful and simple piece.

What guitar or guitars do you perform on? Strings?

Mostly I’m playing on my guitars by Fernando Mazza with a cedar top and my Antonio Marin with spruce and satin wood. It’s a very colorful guitar and makes it easy to create a tender way of making music and not focusing on the technical issues too much. Apart from that I like to use my other guitars with a cedar top for a more powerful repertoire or chamber music.

As for the strings I am very happy to be a part of the Savarez family since 2017 and I’m using the Savarez 510 MJP Cantiga Creation Premium High Tension.

Which guitarists/musicians have had the most influence on you?

My teachers Prof. Mario Sicca, Martin Wiedmann, Mateus de la Fonte and Prof. Joaquin Clerch definitely had the biggest influence on me. Musically speaking also my long-term piano teacher So-Ryong Chuoa had an immense influence on me and led me to two of my biggest inspirations Evgeny Kissin and Sergej Rachmaninov.

Are you planning to record a cd? What are some up and coming projects you are excited about?

There are a few projects ahead, that I’m excited about, but they’re still in the process of making, so I’ll be happy to share them soon, when things will get more precise.

Technique and Performance

How much do you practice? And, do you structure your practice in any particular way?

Usually I practice around six hours a day, sometimes more, sometimes a bit less. But structure in the practice is one of the most important things in my opinion. I think it is very important to have an overview on all projects that are going on and to set deadlines.

Another benefit that structuring your practice brings, is that with the time you get to know how much time and which precise steps it requires for you to refresh old pieces, which can be a big help, when you have several programs you have to prepare. All in all I believe a structured practice plan is the key to a good time management that saves you from wasting both time and energy in the wrong way.

What has to be included in every practice plan in my opinion is a warm-up/technique session, a few sessions for working on new repertoire, and one session where you refresh old pieces or keep current pieces “alive”. The most important is to separate these blocks by breaks, in order to keep focused and be able to go through all of these parts daily.

Are there aspects of guitar that you struggle with or that you find you are still working on?

As we change our perspectives and points of view constantly during the process of development, I don’t believe it is ever possible to achieve the state of an absolutely controlled, constant total perfection and be “completely done” with the work with the instrument. It’s just that the focus on what you want to improve, lies on different aspects in the different phases on top of the basic feeling of a general comfort with the guitar.

Do you deliberately memorize music or have a technique that helps assimilate music into memory?

In most cases the memorization comes while I’m practicing the piece, but sometimes if I want to support or accelerate the process I like using the technique of mental practice (without guitar) and also to analyse the harmonic progressions.

Have you published any editions or do you plan to publish your own editions in the future?

I have done a few arrangements, that I didn’t publish yet, but I’m definitely planning to do that in the near future.

Do you have a favorite drill you use to warm up?

My favourite parts from my usual warm-up routine are minor and major scales through all tonalities and the 12 etudes by Heitor Villa-Lobos. Apart from that I also like warming up on the piano by practicing different technical exercises, before practicing the guitar.

Do you do anything to your nails or shape them in a particular way?

Apart from the usual filing and smoothing with a common nail file and nail papers I don’t use any specific products.

Advice to Younger Players

What single most important piece of advice about practicing would you offer to younger players?

Practice slow with a lot of patience and love what you’re doing.

What repertoire do you consider essential for young/conservatory students to assimilate? Why?

Apart from the classical “competition repertoire” that every ambitious guitarist goes through, in my eyes the 12 Etudes by Villa-Lobos and the 20 Etudes simples by Leo Brouwer are essential, because it doesn’t only include all technical difficulties that one learns to master during the process of learning these pieces, but these pieces also give a perfect fundament for deepening the understanding of harmony and finding a personal way of applying music to at first glance seemingly technical studies.

Recordings that every young guitarist should be familiar with and why?

I believe especially in a young age it is very important to get familiar with the recordings of the most important, diverse legends of the guitar such as Paco de Lucia, Andres Segovia, Julian Bream, Manuel Barrueco, going through all generations and “schools”, to be able to understand and develop your own taste and style. In order to evolve a personal style of musicality in my opinion it is even more important to listen to meaningful other instrument, chamber music and orchestral recordings.

Tangent

What is the last book that you read? Favorite author/s?

The last book I read is “The Prophet” by Khalil Gibran. Among my favorite authors are Paulo Coelho, Jane Austen and Bernhard Schlink.

Do you try to stay healthy? Exercise? Follow a particular diet? Have a favorite pre-concert food?

I like to stay active in my free time and try to do different activities and I do some home exercises and yoga. I also like cooking a lot, but I don’t follow a specific diet. Everything just has to be fresh and tasty 🙂

Do you meditate in any way?

To me focus and concentration, mental health and spiritual development are very important, so I try to keep it up in different personal ways, also including meditation.

What is your favorite way to spend time when not practicing?

I love searching for inspiration, when I’m not practicing. That doesn’t only include all the activities that are connected to being a musician like listening to music, reading, playing other instruments, but also visiting theaters, art galleries, dancing, spending time with family and friends, meeting interesting people, cooking, trying different activities, visiting saunas and spas, enjoying the beauty of nature – so shortly: discovering all the beauties of life itself. 🙂

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Julia on Facebook

Julia’s website

Julia on Instagram

New Series: My Favorite Fernando Sor Etudes, Part 1

Fernando Sor (1778-1839)

Every now and then, I find myself in a sight-reading mood and will pull out the complete Etudes by Fernando Sor. I could spend hours enjoying their perfect structure, their ingenuity, or the wonderful musical moments where Sor charms you by introducing a key or harmony you did not expect. Like a calm path in the forest, there may be something out of the ordinary to draw our attention but just enjoying the path in and of itself is reason enough to be there.

Though many of you are probably familiar with the 20 Etudes by Sor that were curated and published by Andrés Segovia, there are many, many more etudes that he wrote that range from simple to profound. Covering so many musical and technical concepts, they are valuable pieces to those fortunate and patient enough to study them. One great joy as a teacher is to introduce one of Sor’s etudes to a student and have them react with excitement or anticipation that they’ll someday extract their beauty from the guitar.

Anyway, enough rambling!

I decided to start pressing the record button while sight reading to eventually compile a series of videos so that younger and less experienced players get to hear some of the etudes I find particularly nice. I’ll include pdfs below and maybe I’ll even make a video or two demonstrating how I like to play them to develop technical flexibility.

I hope these videos help you discover some new nice little gems.

Previous post about Fernando Sor:

Expanding Sor Etudes

New Publication of Three Fernando Sor Etudes

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How to Improve your Tremolo

Happy New Year! If your New Year’s resolution is to improve your tremolo, you are in luck!

The Bolton Guitar Series just posted its workshop on tremolo with David Russell. Before summarizing it for those of you who like to see the main points listed as a reference, I thought I’d repeat what I expressed in the recent post about David Russell’s ornamentation workshop: the generosity in sharing absolutely everything he knows about his journey with guitar in such an enthusiastic and articulate way is extremely inspiring. David Russell is a great teacher, even through zoom!

Here is the video of the tremolo workshop:

David Russell Tremolo Workshop Main Points

  1. Each finger/nail should feel and sound the same.
  2. Tremolo is a good diagnostic technique for other technical issues.
  3. Maintain a regular rhythm.
  4. Bass should be balanced. Gentle bass/medium or strong treble.
  5. Stiffness in the right hand fingers makes noise. Looseness in the right hand equals a less “clickly” sound. Straighter fingers also help with lessening the “clicky” sound of nails.
  6. The a finger introduces a new tremolo/melodic note and requires attention.
  7. Sympathetic motion between a and m can lead to rhythmic irregularities. Lengthen a finger duration to insure full value of note.
  8. Shift metronome beats to each finger when practicing to “think” with each finger and especially a.
  9. What you do musically with tremolo is at least as important as mechanical perfection.
  10. Practice contrasting Slow/fast, dark/bright, soft/loud practice.
  11. Certain pieces require slow tremolo, some require faster tremolo.

Tremolo pieces:

  1. Recuerdos de la Alhambra and Sueño (Francisco Tárrega)
  2. Zafra and Simancas from Castillos de España (Federico Moreno Torroba)
  3. Una limosna por el amor de Diós, Un sueño en la floresta, Contemplación, Canción de la Hilandera (Agustín Barrios Mangoré)
  4. Invocación y danza and Junto al Generalife (Joaquín Rodrigo)
  5. Reverie and Air Varié (Giulio Regondi)
  6. Now and Ever (Bejamin Verdery)
  7. Shenandoah (Robert Beaser)
  8. Capricho Diabolico (Mario Castelnuovo-Tedesco)
  9. Variations on Las Folias (Manuel Maria Ponce)
  10. Campanas del Alba (Regino Sainz de la Maza)

Tips from Questions and Answers:

  1. Play with energy and the necessary tension but more than that is wasted energy and effort. Poise and posture to maximize energy.
  2. Practice tremolo with two fingers (pimi, pmim, pama, pmam, etc…)
  3. Do not bounce hand!
  4. Planting a stops the tremolo. Join all the notes for a better tremolo.
  5. Try playing paaa tremolo to assess tone, movement of a.
  6. Finger movement remains mostly within the span of string space (i.e for tremolo on string 2, a, m and i do not extend beyond strings 1 or 3).
  7. Raise your expectations of yourself. Do not accept bad playing!

For more learning resources:

Mastering Tremolo for Classical Guitar

How to Visualize Your Pieces

Very early on my guitar adventure, my teacher at the time said that he would never perform anything unless he could see it physically happen in his head. He had me read a few articles on visualizing and, because I tried to be a good student and wanted to be a good guitarist, tried his advice. It was hard work. I SO much preferred to “do”. Close my eyes and sweat mentally to “see” my fingers on the fretboard? No thank you.

But, I persisted. And, from reading enough about it, am convinced it has helped me in many ways. For one, I feel more secure if I can imagine everything. Two, it inevitably builds your ability to focus. Three, I’m not sure to what degree it helps but I like to think of it as a memory safety net, one of many safety nets (mental and physical) that come with mastering pieces and eventually performing them.

At this point in my playing, I enjoy doing it. When I close my eyes, it is nice to play and hear a piece unfold in my head. Visualizing frees my musical imagination in ways that are not confined by the physical struggles of the early stages of learning new music and cold fingers.

Here is a list of visualizing techniques that I have found helpful at some point or another, some are easier than others and can be used as training wheels until you get the hang of it. Or, you’ll find the ones that work well for you and that you enjoy doing. Like exercise, the best visualizing is the visualizing you’ll actually do. From easier to more difficult:

  1. Read through the score of your piece without the guitar in hand. Try to hear it all in your head and imagine your hands playing it as your eyes scan the music.
  2. Watch a video of your favorite player and play along in your head. This is light visualization.
  3. Listen to your favorite player or a good recording of yourself and play along in your head trying to stay with it. No backtracking. If there are spots or large chunks that are blurry, work on those carefully next time you physically practice.
  4. Close your eyes, imagine a stage and where you would sit. Perform the piece in as much detail as possible with extra attention to your left hand choreography as the piece unfolds. Try the same but with the right hand.
  5. Try doing the previous step with a metronome set to an ultra slow tempo and see the piece unfold, matrix-like. Try with an ultra fast tempo. How much can you keep up? What goes blurry?

Don’t forget to smile, breathe calmly, and to remain optimistic. Happy visualizing.

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How to Play Cross-Stringed Ornaments

A renewed Scarlatti obsession, hearing French harpsichordist Jean Rondeau, and a recent David Russell workshop posted by the Bolton Guitar Series have me thinking about ornamentation on the guitar more than usual.

It’s been about 25 years since I took several masterclasses with David Russell in a tiny Andean village in Venezuela. Besides being a tremendously talented guitarist, David is a wonderful teacher: clear, patient, and able to make you sound better almost instantly. I learned a lot from him there and fortunately have continued to learn from him over the years thanks to videos of him working with students throughout the world. In the video (linked below), David explains his approach to ornamentation very clearly and demonstrates every example with his guitar. If you have lots of time, watch it and extract as much as you can! Here I’ll summarize the points I took away after watching it this morning.

Here is a summary of the basic cross-stringed ornaments and the common (and maybe not so common) ways to execute them (the repeated right hand finger is a sweep):

And here are some of the points David mentions in the workshop:

  1. Most baroque trills begin on the upper neighbor.
  2. A brighter sound is better for ornaments. This can be achieved by attacking the string with less of a right-hand angle or by angling the right hand to a more perpendicular angle to the strings.
  3. Cadential trills are important but ornaments within the piece are more personal as to their inclusion, length, etc…
  4. Practice the entrances and exits of ornaments with turns.
  5. Mute the dissonance after the trill. This is usually done with a right-hand finger.
  6. Dynamics are important within the ornament and the musical line.
  7. A shorter trill is better than a longer out of rhythm trill unless it is cadential (where time is suspended to a greater degree)
  8. Cross-string ornaments allow baroque interpretations to vary stylistically from other periods of music.
  9. Have a higher wrist for trills.

Here are a few additional points that I cannot remember whether they are in the workshop but that I think about:

  1. The ornamented note should be in time. In order to achieve this a slight acceleration into the ornament or starting the ornament before the beat helps to achieve the correct feel.
  2. Play ornaments slower in slower melodic lines.

Check out the post I did a while ago: Cross-Stringed Ornaments, Part 1

Bolton Guitar Series: Ornament Workshop with David Russell

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Marco Tamayo plays Schubert

The brilliant guitar virtuoso, Marco Tamayo, just posted a definitive performance of Johann Kaspar Mertz’s arrangement of Franz Schubert’s Lob Der Thränen (In Praise of Tears).

From the video post, Marco writes that he has modified small details in the arrangement to achieve certain resonances and more continuity in the melodic line. There are so many beautiful moments in this performance: seamless phrasing, the natural ebb and flow of pulse, and above all the purity of Marco’s magical interpretation. There is a reason La Stampa has dubbed Marco Il re de la chitarra (The king of the guitar). Enjoy!

For those looking for the music, here is the facsimile of the score:

Leo García plays Tárrega’s Recuerdos de la Alhambra

Here is a recent home recording I did at the end of a practice day last week. The songs I have been revisiting these last six months all have the theme of conjuring places far away – in both geography and time. The great Spanish guitarist, Francisco Tárrega’s (1852-1909) wonderful tremolo piece, Recuerdos de la Alhambra, is magical in so many ways. It conjures the great fortress overlooking Granada with the illusion of a sung melody and it reminds me of its infinite mosaics, fountains, streams, and trickles of water echoing everywhere throughout.

Enjoy.

Resources:

Recuerdos Study Score

Mastering Tremolo for Classical Guitar


Drew Henderson playing Domenico Scarlatti

Canadian guitar virtuoso, Drew Henderson, plays his six transcriptions of Domenico Scarlatti’s harpsichord sonatas in these two videos. The first video has three often played Sonatas (K.490, K.213, K146) and the second video has two more seldom played (K.99, K408) and a guitar favorite, K.1. Though I’ve heard masterful interpretations of these by other guitar greats, Drew’s elegant playing captures the magic of these sonatas particularly well. His playing is crisp, crystal clear, and fluid. The quality of the production, the playing, the interpretations, and Drew’s brilliance come together in true art here. Enjoy.

The scores to all of these Sonatas are available on his website!

Artist Spotlight and Interview with Julia Lange

Young German crossover guitar star, Julia Lange appears equally at ease playing classical, steel string, and funk. Versatile is perhaps an understatement. As a D’Addario sponsored artist, Julia has been seen on stages across Europe and China playing her wonderful arrangements, with her funk band, with other great musicians, and performing standard classical repertoire. With an enviable command of the guitar and guitar styles, her virtuosic technique comes across in a wonderfully relaxed and musical manner. Fortunately, Julia had some time to share a bit about her guitar journey with Six String Journal. Enjoy!

When did you start playing and why? Or, what drew you to the guitar initially? 
I started playing guitar when I was 8 years old. My older brother used to take guitar lessons and he wanted to quit at that time so it was my chance to get his guitar. He gave me the very first lessons but in return I had to give him all my pocket money… soon we started fighting and I went to a proper guitar teacher.

What repertoire do you enjoy playing the most? 
I enjoy playing all kinds of music from classical guitar to Fingerstyle and electric guitar with my band mates. 

What guitar or guitars do you perform on? Strings?
I perform with my “Jakob Lebisch” classical guitar and my “Battiston” Steelstring guitar. I use D’Addario strings.

Which guitarists/musicians have had the most influence on you? There were many guitarists that influenced me but the ones who also changed my life in a certain aspect were for example Tatyana Ryzhkova, because her wonderful YouTube channel inspired me to start my own YouTube channel that opened so many doors for me. Tommy Emmanuel and Andy McKee were the first artists that inspired me to do my own thing, to make my own arrangements and start a new chapter. Later on I started composing and arranging for classical guitar as well. Last year was again a changing point when I discovered the Funk band Vulfpeck and I totally fell in love with Cory Wong’s awesome rhythm guitar playing and that made me pick up my electric guitar and start a Funk band with friends. 

If you have recordings, which recording/s are you most proud of? If not, are you planning to record a cd? Right now I just have my YouTube videos but I hope to publish an album soon. But I’m right now working on my Funk band’s first EP that we’ll publish probably at the end of the year.

What are some up and coming projects (recordings, concerts) you are excited about? Since the beginning of Covid there are many cancelled concerts and hardly any new concert requests, I hope to be on stage soon again and perform the concerts I was supposed to have in China this year or my prize winners concert for the “Lichtenberger Musikpreis” at Schloss Lichtenberg. The online living-room concert I made for the German TV channel ZDF & ARTE was one of the highlights of the lockdown time.

Technique and Performance

How much do you practice? And, do you structure your practice in any particular way? I almost always start with some warming up exercises before I play but I can’t say exactly how much I “practice” per day because it makes a big difference for me whether I arrange something new, improvise or really practice and prepare for concerts but I spend pretty much all my free time with my guitar. 

Are there aspects of guitar that you struggle with or that you find you are still working on?
I think I still find myself working and will always find myself working on all kinds of things. No matter how good you are, no matter how much you work there is no end. It could simply always be better. Which might sound terrifying but it’s awesome, because it never gets boring. Where I’d like to put more focus on the next years is improvising and composing music. And of course on electric guitar I still feel like a beginner, it’s a long way to go. 

Do you deliberately memorize music or have a technique that helps assimilate music into memory?
I enjoy using the technique of “mental practice” to memorize things better and I think that analysing the piece is a big help for a solid memory.

Do you have a favorite drill you use to warm up?  I have some warming-up exercises that I really love and I’m sharing little tutorials about them on my Patreon page, feel free to check it out: https://www.patreon.com/julialange

Do you have any pre-concert rituals?
Not really.

Do you do anything to your nails or shape them in a particular way?
As my nails have to survive not only classical guitar nylon strings but also steel strings, I use a gel layer that I harden with a UV-light lamp. Just the way the ladies are doing it in those fancy nail studios but I make the layer rather thin.

Advice to Younger Players


What single most important piece of advice about practicing would you offer to younger players?Set yourself specific goals. For example take part in competitions, get concerts, make videos and work towards a specific aim that motivates you! I found for myself that this is the only way to really get yourself out of your comfort-zone and improve.

What repertoire do you consider essential for young/conservatory students to assimilate? Why? I think the most important repertoire is the repertoire and the pieces that you really want to play from the bottom of your heart and not the repertoire that someone else tells you to play. What I’d love to see more in conservatories are teachers encouraging their students to write their own tunes based on what they’ve learned for example from the classical pieces they play. Exploring the endless possibilities of making music and the freedom we have in expressing ourselves.

Tangent

What is the last book that you read? Favorite author/s?
“Getting things done” by David Allen is a book that I really highly recommend to all kinds of independently working artists and people.

Do you try to stay healthy? Exercise? Follow a particular diet? Have a favorite pre-concert food? 
I do some sports, sometimes, could be more if I’m honest but I think I eat quite healthy although my cake consumption is pretty high. I don’t follow any diet and my favorite pre-concert food is bananas.

What is your favorite way to spend time when not practicing?
I love being outside in nature and spending time with family and friends.

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More about Julia:

YouTube: https://www.youtube.com/channel/UCg2K_7mrkygu0xmCQ6v9Chg

Instagram: https://www.instagram.com/julia.lange.guitar/

Patreon: https://www.patreon.com/julialange

Lessonface: https://www.lessonface.com/instructor/julia-lange

Anabel Montesinos playing Giuliani’s Grand Overture

Brilliant Spanish guitarist, Anabel Montesinos, performs a dazzling interpretation of Mauro Giuliani’s Grand Overture, Op. 61. All the operatic excitement, virtuosity, and fanfare required for this piece permeate her interpretation from the roll of the very first chord. The excitement builds from there. Anabel’s command of the guitar is exceptional on so many levels and this performance captures the dynamic quality of her playing. Hope this inspires everyone!