Interview with Thomas Viloteau

French guitar superstar, Thomas Viloteau, is one of the finest guitarists on the international scene these days. From winning the world’s most prestigious competitions to searching out the finest beers, Thomas recently sat down to share some details about his life and what he is currently up to with Six String Journal readers.

Personal

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

I started playing at 12. There was a music school in the small town I lived in at the time with my parents, in southern France, and we decided it would be good for me to take music lessons. I got to choose which instrument I wanted to play, and since I already had a harmonica and saw a guy on TV play the guitar and harmonica at the same time, I thought I really needed to have a guitar. I wasn’t even really thinking about playing it at this point, just owning a guitar sounded cool to me. I had already tried learning the violin with my dad but that didn’t go well at all, I had no idea where to put the fingers. I remember when my dad told me the guitar had frets, I thought that was like cheating. To me that was just a matter of putting the finger at the right fret and plucking the string.

What repertoire do you enjoy playing the most?

The ‘classical’ guitar is a unique instrument in the sense that we have repertoire ranging from the Renaissance to modern days, but there isn’t truly enough repertoire in each style to specialize yourself in a certain style of music—it would be hard for example to say you’re a Romantic guitar specialist and spend a lifetime only playing guitar music from the 19th century without getting bored at some point. This almost forces us to play music from all eras, which can be a little surprising for audiences who are used to hearing certain players perform a certain kind of repertoire. But in the end, even if I could choose to spend my life playing only one repertoire, I’m not sure I would. I enjoy playing Bach just as much as I enjoy playing Sor or a Brazilian piece by Assad. To me, style is everything when it comes to music, and I try as hard as I can to become a totally different player from one piece to the next, which makes any repertoire fun to play.

What guitar or guitars do you perform on? Strings?

I’ve played on my Smallman since 2006 with Savarez Alliance strings on it. I’ve also acquired a Bastien Burlot guitar a few years ago which I love.

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

I think my teachers were mostly my source of inspiration when I was growing up. It was before Youtube, so knowledge was much more localized back then! When I moved to Paris in the early 2000s, I met a huge amount of amazing players and teachers. There are too many to cite them all, but every one I met and heard at some point has been an influence on some level.

What recording/s are you most proud of?

Hopefully the ones I haven’t done yet!

Are there any recordings that you consider have the finest recorded sound for guitar?

All the recordings made by Norbert Kraft are magnificent. When I master my own CD’s, I’ll compare them with the recording I did with him for Naxos when I won the GFA. Apart from those, ‘Nuages’ by Dyens was always a gem to me.

You seem to have a cinematographer in you, too. Would you share your set-up and process of recording casual but high quality videos for the world?

I have a couple camcorders by Canon I got a few years back. The biggest one is a xha1, which is a great 1080p camera. Technology is always moving though and with 4k now I’ll have to switch gears at some point. I record the sound with two AKG’s C414 which I love. With good placement and a good room, they sound great. I edit audio into Cubase, and video with Premiere pro.

Technique and Performance

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

It really depends about deadlines for me. If I don’t have concerts and don’t need to learn a new piece, I’ll practice very little. I can even spend weeks without touching the guitar. If I have to learn a new program and a concert is coming up, then I’ll practice up to 6-8 hours a day, although I haven’t done that in quite a while. If I’m touring, the first few concerts require work, but after that I’ll stop practicing altogether. I’ve practiced a ton when I was younger, for many years, and I think that allows me to slow down a bit now. Of course, I can always tell I play better after I practice a lot, still!

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

The tremolo has been a long time enemy of mine, so I’ve started practicing it, just to prove myself I could do it. It’s still not as good as some other players I see on Youtube, but I don’t think I’ll have the patience to take it much farther. To me it’s just a special technique and it should never get in front of the piece and the music. I’ll probably record a few more pieces that use it and let it go!

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

I always had a good memory when it comes to music, but I also try to understand the score as much as I can. If I understand the harmony, the global shape and the details of form, the structure of the phrases etc., I usually can memorize something after a couple read-through’s.

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

Me and Gabriel Bianco have published a set of Scarlatti Sonatas a couple years ago. I’ve done my own version of the BWV1004 partita, too, but since I like changing things around I always find it difficult to print something and tell people this is the way I play it—because it’s mostly never true. When people ask me for the scores of my arrangements, I always advise them to work on their own transcriptions from the best possible source available for a given piece.

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

I’ll confess I don’t warm up. It takes me a bit to get the fingers going, but I’ll just play the pieces slowly if I have to warm up.

Do you have any pre-concert rituals?

I like to do a bit of stretching and breathing exercises (pranayama). I also feel better on the stage if I’ve played each piece of the program at least once the day of a concert. This is true only of the first couple concerts in a tour, if I haven’t played for more than a month. If I’m playing regularly, I can literally do anything I want pre-concert.

Advice to Younger Players

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

I think there’s a thing going around that says you don’t need to practice a lot, just a couple of very focused hours can be better than six hours not focused. It’s true. Although I don’t see why we can’t play for six hours focused. The more you practice the better, that’s the short answer. As long as you fix problems of posture when they occur, to make sure you don’t hurt yourself, go and practice all day. It becomes second nature. There’s no short cut.

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

Young players are developing their musical technique, and ears. On a purely musical level, there is so much to do in the Baroque repertoire or the Renaissance repertoire that it can be a little complicated for students to get into those. The 19th century repertoire is closer to our own traditions that it can feel more natural for students to play it. As far as learning technique, it’s also a very important repertoire to get into. 20th century music is also very important and will teach you the new, weird techniques. Basically I’d stay away from too many transcriptions, and stick to repertoire from the 19th and 20th centuries. When students know more about performance practices for the 16th to 18th centuries, then they should get into this repertoire. To me, playing Bach’s Chaconne when I was 18 was a great experience musically speaking, but I can’t say I learned a lot technically speaking. Sor studies are much more valuable in the regard.

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

I can’t name a few that are vital to know, but I’d advise students to listen to all types of music in general, not just guitar. It’s a little limited to listen to other players when you learn a piece; you want to get to the source, and listening to other players will only give you an interpretation of what you’re seeking. It’s a bit like reading a book review; you’ll understand it much better if you read the actual book yourself. If you’re faced with a Rossiniana, go listen to some Rossini; that sounds stupid but lots of students will base their version on what they’ve heard other players do. If you’re playing some Assad, go listen to popular Brazilian music, singers, bands, not just what other classical guitarists make of this music. Get to the source.

Tangent

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

I’m studying for the comprehensive exams at Eastman here in Rochester, which will be the end of my doctoral studies, so I haven’t read anything else than music theory and history related books in a while. Before that, when I had a normal life, authors I loved were Kundera, Vian, Sartre, Camus… but that was before!

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

I try to exercise and work out as much as I can, although these past years have been quite busy with studying. A special diet of mine is going around trying all kinds of good beers whenever I can, as well as drinking lots of espresso. All very healthy.

Do you meditate in any way?

I’ll spend a little bit of time relaxing before concerts if I feel I’m a bit nervous, but I don’t do it on a regular basis.

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

I love to cook, make coffee, drink beer, watch movies, and play with my cats!


Check out Thomas Viloteau’s latest technique book and CD on itunes:

In-the-Black-Box-1-1website

 

Artist Profile and Interview: Celil Refik Kaya

celil_refik_kaya_june_2013_photo_orhancemcetin_5534Young Turkish guitarist, Celil Refik Kaya, is taking the guitar world by storm. He has won numerous victories in some of the most important international guitar and concerto competitions with displays of stunning musicianship and brilliant technique.

In addition to playing some of the most demanding repertoire with what seems like a magical touch, Celil is a prolific and gifted composer as well, and equally at ease playing with top notch orchestras as he is playing solo.

In the interview below he shares some insight and tips with Six String Journal readers about his musical journey so far…

 

When did you start playing and why? What drew you to the guitar initially?

I started playing guitar when I was six years old because my father used to play classical guitar and many other instruments. He has been professionally playing Rebab which is a traditional Turkish bow instrument. My father was my first teacher and when I heard him play, the sound of the guitar was magical to me and not comparable to any other instrument. The year that I started playing guitar I wanted to be like Andres Segovia and John Williams who were my childhood idols. Besides playing classical guitar, I play many other traditional Turkish instruments such as Rebab and Oud which I learned from my father.

What repertoire do you enjoy playing the most?

I enjoy playing 20th and 21st century South American composers as well as 20th century Spanish composers. Besides those, I enjoy playing my own compositions.

What guitar or guitars do you perform on? Strings?

I have guitars made by Garreth Lee and Glenn Canin. Both are phenomenal guitar makers. I play both of my guitars depending on the setting of the concert. In fact I recorded my first album Jorge Morel Guitar Music from Naxos, with Gary’s double top guitar which has incredibly beautiful warm sound. I recorded my second album with Glenn’s guitar and it features the music of Carlo Domeniconi which will be released by Naxos. For both of my guitars I use D’Addario EJ46.

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

As a performer I was influenced by Andres Segovia, John Williams, Alicia de la Rocha, Maria Callas, Itzhak Perlman.  As a composer I admire Puccini, Rachmaninoff, Ponce and Tedesco.

What recording/s are you most proud of?

To me every recording has its own unique quality.

Which recordings do you consider have the finest recorded sound for guitar?

Recordings that I have done with producer and guitarist Norbert Kraft were the finest I would say. When we listen to all of the Naxos guitar recordings that Norbert recorded, they all sound phenomenal.

What are some up and coming projects you are excited about?

I will be recording the last two volumes of Agustin Barrios Mangoré which I am very much looking forward to. Starting from September 2017, I will be a fellow of Harvard’s Dumbarton Oaks in Washington D.C. I was recently invited for this prestigious fellowship program and I am looking forward to my performances in D.C. as part of my fellowship program.

Technique and Performance

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

How much I practice really depends on my schedule and what is coming up. I practice as much as I need to which can really change according to the importance of the concert or difficulty of the new piece that I include in the program. When I competed in competitions, I practiced about 8 hours a day which I divided as 2 hours arpeggios and scales and 6 hours repertoire. For concerts I practice 2 to 3 hours a day.

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

Not in terms of technique. In terms of musicality every dedicated musician grows musically until the end of their lives.

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

I memorize the pieces naturally very quickly. Therefore I don’t have a specific method that I use for myself. For my students I recommend them to read the music from the end to the beginning or sometimes making them play specific passages of the piece only. Because most of the time, guitar players play with the muscle memory rather than really knowing what notes or fingering they play and this can cause many problems such as memory slip and lack of control.

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

My transcription of Valses Poéticos by Enrique Granados was published by FDP publications in Austin and my original works such as Sonatina, Longing, Suite of the Witches and Dream were published by d’Oz publications in Canada. I am working on the next projects for publishing including some of my solo guitar pieces and chamber works.

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

I generally warm up with playing passages slowly from the pieces that I am going to play in my concerts.

Do you have any pre-concert rituals? 

I usually eat a banana and chocolate before performing. It significantly helps the energy and concentration.

Advice to Younger Players

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

Practicing consciously and slowly. Whatever they are practicing, awareness of every single note and its quality should be the goal. Sometimes when a young player practices, they continue playing even if the passage is not perfect. It is very beneficial to have a self critical mind in that sense.

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

I am always a fan of traditional classical guitar repertoire rather than only new works. There are many composers that young players don’t play anymore and I consider them the core of the guitar repertoire. Turina, Tedesco, Ponce, Torroba and many others are fantastic composers who wrote the skeleton of the guitar repertoire. Their works are not only challenging both musically and technically but they are also audience favorites. If a person hears classical guitar for the first time, it is very likely that they will like 20th century Spanish composers. What these composers achieved with the emotional expressivity of their works is not replicable.

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

Every young guitarist should be familiar with the recordings of Andrés Segovia, John Williams, and Julian Bream. Today, the level of guitar playing is so much higher than before, but the foundation of the guitar technique and soul is hidden in those recordings. To understand rhythmic stability and inner pulse they should listen Williams. Although the aesthetic of musical interpretation has changed significantly, Segovia’s playing conveys great musical expressivity. Listening to these artists provides a great foundation. Besides listening to other great guitar players, learning harmony, counterpoint, music analysis, listening to orchestral recordings, chamber works, and great instrumentalists (non- guitarists) will transport young players to another level. After a certain point it is important to listen to more non-guitar recordings.

Tangent

What is the last book that you read? 

The last book I have read was “A Composer’s World” by Paul Hindemith.

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

I don’t follow a particular diet but I am trying to eat everything in balance. Since I am Turkish, the majority of the time I eat Turkish food and my wife loves it, too. Before concerts, I don’t have a particular pre-concert food as long as it is not too heavy.

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

I like to spend my time in coffee shops with my wife reading books and sometimes composing. Besides that, I also practice Wing Chun which is a branch of Kung Fu.

Interview with Enno Voorhorst

Enno Voorhorst

1371978813

Photo Credit: Kim Jun Su

Dutch guitarist extraordinaire, Enno Voorhorst, took some time out from his busy schedule to give Six String Journal readers insight into his personal and musical life. From eating bananas before a performance, reading García Márquez, to his upcoming project of recording late Roland Dyens’s Concerto Metis, hope you enjoy this as much as I did!

Personal

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

I was thirteen when I got my first guitar and was immediately sold. I had played the violin for 6 years already, so the development went very quickly because of this advantage and that was of course very stimulating.

What repertoire do you enjoy playing the most?

My repertoire preference is music with nice melody lines. I see the guitar more as a melodic instrument than as a chordal instrument. A piano or harp can’t influence the sound after playing, nor do they have much the sound variety that a guitar has! This is the same like all other melodic instruments.

What guitar or guitars do you perform on? Strings?

I play a Simplicio model moderno copy from 1930. It is made by Federico Sheppard and it has a double soundhole on both sides of the fingerboard. I like the sound possibilities and the clear full bass. For that I use Savarez Corum hard tension.

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

Of course my first teacher influenced me the most, Hein Sanderink. He came from the school of Ida Presti and was very concerned with a good sound but he is also a fantastic and clever musician. After that, I studied with Huber Kappel and had masterclasses with David Russell who both influenced me a lot. Kappel because of his expression and Russell because of his mastery and open mindset.

What recording/s are you most proud of?

Every next recording I think is the better. My last recording is the most mature; Bach, Pärt, Desprez. I think here I played the most freely and expressively with a program that suits me well.

Are there any recordings that you consider have the finest recorded sound for guitar?

This is hard to say. As a musician I listen to the music first and when I like it I also like the recording but I know that I’m probably not objective…

What are some up and coming projects you are excited about?

In September 22-25 2017 there is a Camino Artes festival where I will perform a new duo with Laura Young. David Russell will also be there to celebrate the 500th concert in this series of concerts for the pilgrims walking towards Santiago the Compostela in beautiful old churches. After that I will record a CD of Roland Dyens’s music consisting of many solo pieces and his Concerto Metis with one of the best string orchestras of the Netherlands. I’m really looking forward to this as a tribute to this great person, friend, and unique composer.

Technique and Performance

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

Yes I practise a lot, still 4 hours a day or more. It depends on the concerts I have to play and the programs I have to prepare. I also play in two duos what I like very much for the repertoire; one with oboe and one with the viola. Great combinations!

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

Technically, many problems have been solved over the years, but relaxation always remains an important issue. Of course relaxation of the whole body, but also of the fingers that have nothing to do. This gives the possibility to prepare the next finger movement. A well prepared finger is half the work!

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

I like to memorize the music because it settles better in my brain that way. A memory is actually an association you make with notes, rhythm, harmony, movement, etc. The more associations you make the better it is, so a good understanding of solfège and harmony is important. Playing a piece from memory should be an automatism!

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

There have been some publications. At the moment I do not take the effort to have more transcriptions published because of a lack of time. But I’m happy to share them with anybody who asks me by mail. The guitar world is small and I like this feeling of connection with each other.

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

My warming up consists of some scales, slurs, and arpeggios. Furthermore, playing tremolo pieces relaxes and balances my right hand and helps the left hand find the strings more precisely.

Do you have any pre-concert rituals?

I eat one or two bananas.

Advice to Younger Players

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

Never lose the joy in playing, so play the pieces you love. When you don’t feel like practicing something, first do what you desire to do. The guitar is your friend and not the opponent.

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

The studies by Fernando Sor are definitely very important because of the quality of counterpoint, structure, and refined harmony and melody.

Recordings that every young guitarist should be familiar with?

Listen as much as possible the music you love over and over again. All music, not only guitar! I listened to Glenn Gould playing Bach very often or the duo Presti/Lagoya.

Tangent

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

The last book I read was Ida Presti Her Art about the life of Ida Presti. It is written by her daughter Elisabeth. It is very interesting to read how the guitar developed after the second World War. One of my favorite authors is Gabriel García Márquez with his magic realism…

Do you try to stay healthy? Exercise? Follow a particular diet?

I like to go running with my dog in the woods behind my house and that gives me energy. I think that good health is important to play an instrument on a high level, not only physically but also mentally.

For more on Enno Voorhorst visit his page!