Artist Profile and Interview – Edoardo Catemario

Upon hearing a recording of Domenico Scarlatti’s music performed by Italian guitarist Edoardo Catemario, I was immediately captivated by both his beautiful sound and his sensitive musicianship. Winner of both the ‘Andrés Segovia” and Alessandria International guitar competitions in the early 90s, Edoardo has been performing all over Europe to great acclaim. Edoardo recently sat down to share some wonderful insights on his journey and philosophies with Six String Journal. Enjoy!


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

My father was an amateur player, he could play sixteen different instruments. He was also a good singer and used to sing to me every night before sleep. When he started playing the guitar I became immediately attracted by the sound of this instrument and wanted to play with him, he replied that I should start studying “properly” with a real teacher. I was almost five when I took my first lesson. My mother told me that I used to practice almost one hour per day at that time. I remember only that I liked the sound of the guitar and the feeling of my fingers on the strings.

What repertoire do you enjoy playing the most?

It depends by the mood and by the time of my life. I like baroque, classic, and romantic music and sometimes some very good contemporary although I must confess that ultra contemporary avant-garde (despite having played it quite a bit) is not my favorite. Let’s say that I tend to prefer music that you can sing or whistle…

What guitar or guitars do you perform on? Strings?

Since the late eighties I’ve performed only on vintage instruments. In my experience it is the best compromise between expressivity, projection, beauty of sound and dynamics. At a point of my life, I have had a collection with several great guitars: Simplicio, Garcia, Jose Ramirez I, Manuel Ramirez, Pascual Viudes, Del Vecchio and so. Nowadays, I still have a few guitars of that collection, those instruments that I was used to play the most: Enrique Garcia and Francisco Simplicio. Two years ago I have been struck by a modern luthier: Paulino Bernabe jr. Since then I am endorsing his guitars, in my opinion the best modern instrument able to compete in projection, beauty of sound and emotion depth with my old instruments. A special mention goes to a project of a wonderful “mad genius” from Italy: Walter Franchi. I own a couple of his guitars. He has invented a method called “ guitar refurbishment” that he applies to instruments of very poor craftsmanship of the end of XIX century and early XX (Ibañez, Julve, Casa Nunez etc) making them sound like guitars of very high level luthiers. In this way you can enjoy a pure “original” sound at a very reasonable price.  I own two guitars “Torres” which actually sound even better than the original ones (I have played several original Torres). Walter looks at a guitar and does what he calls “giving it a second chance” remaking it practically from scratch. The work of a genius.

Regarding strings, since 1992 I’ve used 1992 RC classic “Sonata light”, a string made in Valencia by a flamenco player: Juan Grecos. We have been working a lot to find a nylon string with a crystal sound and no personality in order to give the player the ability to have the sound he wishes.

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

At the very beginning of my guitar playing my hero was Andres Segovia. Growing up I have turned my sight elsewhere probably because of my musical formation that wasn’t only guitar oriented. I have been student of one of the very last musicians of the “Neapolitan school” (Titina De Fazio Imparato) and had to learn some piano and organ in order to receive lessons by her. This fact opened my horizons quite a lot bringing me to discover the most important pianists and violinists (Rubinstein, Czyffra, Lipatti, Oistrak, Hifez, Primerose, Enescu) and obviously organists (Richter mainly). Also, I had to practice repertoire that was not guitar: string quartet, organ, piano.

During all that period I was trying to understand Arturo Benedetti Michelangeli piano mastery. Instinctively I could feel that he was the incarnation of my “ideal” musician but I couldn’t replicate his perfect taste on the guitar. It took me years to begin to understand and I am still on this process of making the music as deep as I can by respecting the composers marks, ideas, and styles.

I also have had the incredible chance to personally meet Sergiu Celibidache who deeply influenced my life. Thanks to him I discovered that perfect beauty and emotional depth was possible. I have heard the perfect balance in more than one concert conducted by Celibidache. Attending as many rehearsals as I could, I discovered his way to work on the details, on the profound meaning of the music and its incarnation in the “here and now”. It is a never ending training.

Why do you seek what you call “perfect taste” elsewhere than guitar?

The guitar, historically, has been an instrument with a double face. On the one side it has been the most “popular” instrument, on the other side it was the privileged entertainment of the kings’ courts. This fact has lead to a continued osmosis of information between the courts and the taverns. During the centuries this “counterpoint” has happened repeatedly and you can easily recognize both the “aristocracy” and the “popular” of the guitar. The repertoire itself is very different. That’s how Tansman and Barrios coexist and why, in my opinion, Segovia didn’t play some pieces that other guitarists like so much. He was an aristocrat. I come from a noble Neapolitan family, I was born aristocratic but I have lived most of my life thinking this was like a “sin”. The leading aesthetic of the last forty years of the guitar has been basically popular, having noble roots and refined aesthetic was considered “vulgar”, quite funny, no? Things are slowly changing and many young players are trying to go back to the aristocratic guitar but it is still not easy for them as it has not been for me. Guitarists have closed themselves in a “guitar world” where guitarists play for other guitarists in guitar festivals and get reviewed on guitar magazines (and blogs) by other guitarists, teach master classes (abused term that often indicates a simple class to a low level student) of guitar to guitar students in a guitar campus where no other musician is allowed or is interested to come in. The funny part of this process is that almost every guitarist that I encounter blames the lack of audience and attempts to gain more audience by playing more vulgar repertoire. Sometimes you can listen to entire “jingle programs” in the hope that the audience will enjoy it. None of the performers that I have met ever questioned the fact that probably the problem was not only the repertoire but the performers themselves.

What I can say is that in my experience the quality pays off in the long term. I have been lucky enough to play in the “temples” of classical music like the golden saal of the Musikverein in Vienna or the big hall of Berliner Philharmonie or the Balshoi Saal of the Philharmonie of St. Petersburg but not in the main guitar festivals. I tend to think that the way I like and play the guitar is not well accepted by many guitarists, probably it’s a matter of culture. I have many anecdotes about discussing with (even quite famous) guitarists having to cut the chat about the real matters of music in order to avoid to give a non required lesson. Going back to the aesthetic I must confess that I can’t see myself using a ton of rubato in every single phrase, making every piece a Prelude or play in the most aseptic way, fast and furious or fast and clean. Music is more than that for me, it is landscape (to use a definition by Atahualpa Yupanqui), it is the occasion to see the life with the eyes and the ears of a great composer. It is unacceptable to me to vandalize a text in order to be “original” or, even worse, just for lack of culture.

Real music travels on a railroad parallel to the one chosen by most guitar festivals and often looks at the guitar world like you might look at an unlucky brother. It’s a pity, don’t you think?

What recording/s are you most proud of?

The next one!

What are some up and coming projects (recordings, concerts) you are excited about?

In October 2018 I am going on tour with Prague National Orchestra to perform “Sinfonia Argentina” by Daniel Doura. We will play in Prague, Tiplice and at the Hercules Saal in Munich. This is an orchestral piece for a huge orchestra and choir. The fourth movement is a small concerto for guitar, piano and orchestra.

I am on a secret project of a recording that will probably see the light in October. Shhh…

Technique and Performance

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

It depends by what I have to do. Normally I would say between three and four hours a day. But in case of recordings or different concerts with different programs it can easily become twice that much.

I do follow always the same routines. Tune the guitar, put the score on the stand, take a pencil and start from the first bar, read the piece trying to squeeze out the emotions that it has. First comes the music and the pleasure to discover a new piece. Then I practice small parts of the piece trying to get them by heart as soon as I can, then I put together some small parts and practice slowly to gain clarity and precision, and so on for every part of the piece, from smaller to bigger (motive, semi/phrase, phrase, period, section, movement).

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

Allow me to answer with a sentence by Carl Sandburg about the guitar: “A chattel with a soul often in part owning its owner and tantalizing him with his lack of perfection.”

The lack of perfection just drives me crazy in the effort to master it. I am not alone, I can remember an interview where Paco de Lucia was complaining about the guitar being the most ungrateful instrument.

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

I do prefer to memorize everything. In order to achieve that, many years ago I started using mental training. My investigation started from a simple observation: when I was trying to play a passage with some kind of technical issue in it, despite playing it just in my mind without using the guitar the mistake was still there. I then understood that the origin of any mistake is only rarely physical and is more often what we imagine in our head.

A must read is “Mental Training for Musicians” by Renate Kloppel. This book describes roughly  every step that I follow to play everything by hart. I am sure you can find similar books  searching on the net.

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

I have been asked to publish my arrangements many times, eventually I will do it in the future. For many years I have been too lazy to put them on paper and have thought that it was useless: I redo every arrangement as it was the first time I play the piece every time I play any other instruments repertoire and believe that, if someone likes my arrangement, he can make his own arrangement and eventually listen to my recordings and use the ideas as he/she wants. It is still questionable if publishing my arrangements or not… can we make a poll?

So far, there is only one book that I have published thinking that it could be of some help to musicians. It is called “fundamentals of interpretation” and explains in 36 pages everything basic I know about music: the meaning of articulation, tempos (what actually mean Andante i.e. and why you should play at a tempo rate instead of an other), structure, etc… Also is about visible and hidden signs in a score.

It’s a book about the essential things that every musician worth to be called a musician already knows. It is downloadable for free at my website:

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

No. I have spent my life trying to be ready for public performance with no warm up. I try to play music every time I pick my guitar up. I quickly get bored by technique. When I was a student I practiced technical exercises for hours, in that period I liked it. Not anymore, my priorities have changed. Before a concert I play slowly something that I like in that moment (not necessarily from the program that I am going to perform).

Do you have any pre-concert rituals?

Not really. I have everyday ritual, kind of superstitions… I come out of my bed always with my right foot, don’t share salt with anybody, don’t step under a stair and many others, in music I never play Scarlatti’s sonatas in odd number. I can’t say that I believe in bad luck but I prefer not to challenge the fate…

Advice to Younger Players

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

Do music, first! Be compassionate with your music, put your soul in it and then, only in a second moment, slow down every single passage and practice the technique to make it as perfect and full of energy as you can. Practicing the clarity before trying to put the music into the piece very often ends up in a totally dry performance. One very important advice: play what is written (P means *piano*, F *forte* and not whatever else you like, a rallentando mark means that you should slow down the tempo ONLY in the segment where the mark is placed).

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

Etudes. All of them: Sor, Giuliani, Carcassi, Legnani, Coste, Villa Lobos etc… An etude is a great occasion to manage a musical performance in a small form. From smaller to bigger. You can’t reasonably play Chaconne if you can’t manage to play a study by Sagreras from memory and musically convincingly.

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

We live in an epoque when you can have access to virtually every recording ever made. I think that it is important for everybody to know his own roots. Who are the greatest masters of the past? Start with them! It’s dangerous to build up a student career by listening only to competition winners and try to imitate that play wishing only to win a competition at your turn. Music is a different matter and has nothing to do with competitions nor with cultivating “originality”. Originality is the pompous name that many people give to their ignorance.


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

I like thrillers (especially if, but not only) blended with philosophical arguments: Dan Brown, Paulo Coelho or Tolkien. Books of art (Philippe Daverio for example), Italian literature (Fallaci, Ilaria Cenci Campani and many others), some Spanish literature (Martha Batiz Zuk among others) and obviously the great classics: from Voltaire to Verne, Cervantes, Tolstoji, Goethe, Dante, Ariosto… also some Ancient Greek literature, I have read Sophocles, Eschilo, Plato and many others.

As of now I am reading the book by Leon Poliakov about the Shoah. The next one is lying on the table near my bed: Secrets of the Sistine Chapel.

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

I wish I could. I have been a rugby player in my youth, every year I promise to myself that I will exercise. It’s now over five years without.

I am very demanding with food. I live in the field and prefer zero km food, I avoid as much as I can pre-boxed food and try to eat as much healthy food as I can. Old weeds, biological food with no OGM and no chemicals. Obviously, living in Tuscany it is easier for me.

Have a favorite pre-concert food?

I don’t eat before concerts.

Do you meditate in any way?


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

Play with my four years old son, walk with my darling, read, talk with friends, play cards with the elders of my village.

Any things else you’d like to add?

I have developed a system of teaching based on the XVIII century Neapolitan school and its “partimenti”. This system permits to any absolute beginner to play his first song in 4 lessons. The method can be used to introduce students to music and can be applied to harmonic instruments (guitar or keyboard). It can be used also to form amateur players to enjoy music. It is very progressive and is centered upon playing with the teacher and not in front of a computer. The skills asked to learn how to teach the first and second level are quite possible to get acquired quickly by a proficient guitarist of any genre. The method itself is not centered on the classical repertoire nor classical guitar and allows people to develop a good ear, good side reading, improvisation, knowledge of harmony, tab, notation and arranging. The system is based on two “steps” which are focused on the student and not on the institutional “timing”. This is a crucial aspect of artistic learning: institutions care that you learn a “basic minimum” in a given time, you have to be prepared to give an exam at a certain date but it doesn’t matter how well you perform. Art demands the absolute best you preparation, it doesn’t matter when (although the sooner the better). Teachers who use my method (Metodo Catemario) also accept the “ethical teaching code” which is a fundamental part of the method itself: every lesson can be repeated as many times as the student (or the teacher) feel being necessary to achieve any single result at no extra cost. Only when the student is well prepared and has no doubts about that particular lesson can step ahead to the following subject.

Artist Profile and Interview: Piotr Pakhomkin

Six String Journal Artist Profile and Interview

From practice and listening advice to pre-concert rituals, competition-winning guitar powerhouse Piotr Pakhomkin provides a wealth of valuable insight to both beginning and advanced guitarists. Hope you enjoy reading this one!

Hailed by Classical Guitar Magazine as “one of the bright lights of the younger generation of classical musicians, a player of tremendous skill and sensitivity,” Russian-American guitarist, Piotr Pakhomkin has extensively performed and given masterclasses in Europe, Central America, and the U.S.   Based in Washington, D.C., he was the only guitarist to be featured at Strathmore, Kennedy Center, and Phillips Collection series in the span of a single concert season in 2014.

After finishing his studies with Manuel Barrueco at Peabody, Piotr became the First Prize winner of the 2012 Mexican International Guitar Competition in Culiacan and has taken top prizes at the 2012 Boston GuitarFest International Guitar Competition, Great Lakes Guitar Competition, Montreal International Guitar Competition, and the European International Guitar Competition, “Enrico Mercatali,” in Italy. After finishing the prestigious Strathmore Artist-in-Residence program in 2014, he returned to serve as a faculty member and mentor in their Institute for Artistic Development.

As the winner of the 2016 Respighi International Soloist Competition, he will make his concerto and solo debut at Carnegie Hall in the Chamber Orchestra of New York’s “Masterwork Series” in June 2018. Piotr plays exclusively on a 2010 Ross Gutmeier Guitar using Oasis GPX strings.

Here are three links to Piotr’s website (lots of great videos, his recording, and an insightful left-hand workout routine).

Piotr’s Website

Piotr’s recording Virtuoso Guitar Collection 

Piotr’s Guitar Gymnastics: 5 Day Workout for the Left Hand


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

My high school music teacher, Matt Hartman played Bach’s Sleeper’s Awake (performed by Christopher Parkening) in a music appreciation class. The ability to play multiple voices on the guitar had me floored – a full ensemble was hiding inside this little instrument. I was about 16 at the time and I knew I had a ton of work ahead of me. My enjoyment of the challenge and the process was a deciding factor in pursuing the guitar full-time.

What repertoire do you enjoy playing the most? 

I have the most fun venturing into new territory with arranging. After hearing Jordi Savall’s playing in the French movie, “All the Mornings of the World”, I fell in love with viola da gamba repertoire. I started with Marin Marais and then graduated to Carl Friedrich Abel. When working with single-line string music, I love the creative freedom involved in filling out the implied counterpoint. 

What guitar or guitars do you perform on? Strings?

I play on a custom 2010 Cedar double-top by American luthier, Ross Gutmeier with Oasis GPX strings.

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

Teachers have had more influence on me than any single recording. I wouldn’t be a guitarist if it wasn’t for my first teacher, Paul Moeller. My current students will find it hard to believe but my first few lessons as a teenage novice were very difficult. Everything was a struggle– sight-reading, right hand patterns, accuracy, memory and rhythm. Despite my lack of training, Moeller was so encouraging. He built up my confidence in my own ability, and taught me the techniques for performing consistently under pressure (slow practice, visualization, left and right-hand separation training). His coaching brought me to a professional technical level in less than two years. 

When I started studying with Manuel Barrueco, his ear and meticulous labor over the meaning of every note was a huge source inspiration for me. I was so focused on playing with my hands but he was always teaching us to play with our ears. 

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

Manuel Barrueco’s 300 Years of Guitar Masterpieces for the Vox Label. I have those recordings in every format: CD, MP3 and vinyl. The warm sound, attention to detail in voice separation, and precision on those recordings shaped all of my values for learning, recording, and performing music. 

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

In March 2018 I’ll perform with the New York Chamber Orchestra in Carnegie Hall. Playing in that venue is one of those goals that I set when I began, so it’s an honor to finally see it happen.

Technique and Performance

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

I try to put in 5 hours on average. The quantity really depends on my workload and what stages my pieces are in.

Slow practice takes longer and the hands can withstand more of it. On the other hand, playing at faster tempos is more strenuous and too much repetition without pause can cause injury. 

My focus is higher earlier in the day so the earlier portion of the practice session revolves around isolated passages, very slow tempos (roughly one quarter of the concert tempo) and exercises derived from the most difficult aspects of the pieces. I’ll go through the music phrase-by-phrase between 1 and 3 times without errors. I never repeat anything more than that in a single sitting. I think that it’s potentially harmful because it leads to indefinitely long practice sessions, fatigue, more errors, and it wastes time. 

Later in the day, I’m working more on the entire performance of each piece at concert tempo. In other words, “work” in the morning and “play” at night. If the pieces aren’t ready to be played at tempo, I’ll spend more time working slowly. 

In terms of structure, I keep a list of the goals I have for the practice session with each piece. To maintain interest, I’ll change the order of the passages I’m practicing. If I went through it more chronologically one day, then the next time I’ll start at the end. Without some routine, we can get disorganized but too much routine can numb our focus.

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

One challenge is to consolidate your practice regimen to fit the needs of traveling, where you have so much less time. It’s a luxury to practice a lot so when that time isn’t available to you it’s a real test of efficiency, careful planning and time management. I usually plan my daily practice sessions on the airplane, preparing for a worse-case scenario. 

Another obstacle for many guitarists is breaking away from the bubble of your own instrument and exploring the much larger world of classical music. Intense focus is a wonderful thing but in this case it can harm you if it keeps you from being well-rounded. It’s important to attend symphonic and choral concerts, for instance. At the very least, you can hear new pieces of music and get new programming ideas from these experiences. I also get a lot of benefit from hearing young players in the Chopin or Van Cliburn competitions instead of just following guitar contests. Hearing an instrument different from the one you play at home with different repertoire allows you to be less judgmental and gives you more freedom in your listening experience.

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

Visualizing every single note of a concert program is essential for a performance free of memory slips. To maintain focus under pressure I sometimes play through my program with loud music playing in the background. If I can push through, even when I can’t hear myself, I know that my focus is strong. 

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

Admittedly, I haven’t had much time to do work in this direction. I’d like to expand our romantic repertoire to include transcriptions of works by Scriabin, Rubinstein, Glinka and Mussorgsky. I hope to publish these in the near future.

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

I swap out my exercises on a weekly basis as they get easier. I like this linear chromatic scale exercise because it helps with precise shifting, which is needed in just about every piece. The aim is to make every fingering variation have the same legato quality, rather than broken groupings of four, three, two, and one. [Check out Piotr’s Guitar Gymnastics Publication for more like this. -L]

Piotr's Chromatic Linear Scale.jpg

Left hand fingerings to use:

0 1 2 3 4 1 2 3 4 etc.

0 1 2 3 1 2 3 1 2 etc.

0 2 3 4 2 3 4 2 3 etc.

0 1 2 1 2 etc.

0 2 3 2 3 etc.

0 3 4 3 4 etc.

0 1 1 1 1 etc.

0 2 2 2 2 etc.

0 3 3 3 3 etc.

0 4 4 4 4 etc.

Record them and work on making them all sound like the same fingering, ridding yourself of accents after every shift. This is a great time to work on getting rid of fret noise as well.

Do you have any pre-concert rituals?

Before the concert, I try to meditate for at least 5 minutes to clear my head. I notice a big difference when I don’t get to do this so this is a priority. I use the Neurolinguistic Programming techniques for meditation. 

Advice to Younger Players

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

This is a simple piece of advice but it’s easier said than done. I would encourage young players to spend the most time working on their weakest qualities in the early stages of development. With a good teacher’s supervision, get out of your comfort zone and make a game out of the struggle. This is the only way to grow. 

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

I think Bach’s Lute Suites (Frank Koonce edition) are a priority. Developing a singing quality with Bach’s long phrases is extremely demanding. Achieving clarity and balance in the counterpoint is an enormous technical feat. Another reason for working through this repertoire is that you can use a wide variety of non-guitar recordings to aid your interpretation. You can learn the the BWV 998 (Prelude, Fugue, and Allegro) along with Sviatoslav Richter or Gustav Leonhardt. You can approach it from opposing standpoints–the romantics as well as the period instrumentalists. 

For general technique, it’s important to go through the Villa-Lobos Etudes. They instantly reveal weaknesses and give you a concrete goal to master them when you finally perform each Etude in concert. Etude no. 1 is impossible to play smoothly with a weak m-a-m arpeggio combination. Etude no. 2 will fall apart with excessive left hand tension. 

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

I recommend:

300 Years of Guitar Masterpieces (Manuel Barrueco) for the clarity, consistency, and hierarchy in voice separation. 

Vivaldi Four Seasons (Venice Baroque Orchestra) for the energy and new life they pump into this very famous music. Some of the themes have been relegated to the “wedding-music” genre but with this recording, you completely forget that. 

Handel, Bach, Scarlatti (David Russell) for the creative and lyrical cross-string ornamentation. 

Chopin Nocturnes (Arthur Rubinstein) for the ability to play note-for-note with the light feeling of improvisation on every flourish.


What is the last book that you read? 

The Art of Practicing by Madeline Bruser

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

Absolutely. I think that performing music is so physical that you have to care for your body like an athlete. I get my protein from fish, vegetables and legumes. I stay away from starches and refined sugars. Healthy fats like avocados and coconut oil are fantastic for fingernail health – both topically and as part of your diet. 

Before a concert, I always eat a few bananas. They’re always safe to eat when you’re traveling because of the protective peel. Also bananas are calorie dense and rich in potassium, which I’ve always read is a natural beta-blocker. 

Musicians generally fear weigh-training but there are safe ways to approach it. I do do the eccentric portion of every lift very slowly, allowing lighter weights to feel much heavier. This puts less stress on my hands. I also jump rope to keep my heart healthy. With the jump-rope the exercise session will be much shorter and more intense than distance running. This is perfect for a musician’s busy schedule. 

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

I love hiking and the outdoors. In the cold months, you’ll find me catching up on new independent films and documentaries.