Tal Hurwitz plays Bach

In this series of videos Tal Hurwitz plays Johann Sebastian Bach’s Sonata Nº2 in A Minor for violin solo, BWV1003. The videographer, Sanel Redzic, a gifted and award-winning classical guitarist, knows how to capture a both vibrant and intimate scene for such a wonderful interpretation to unfold. Beautiful on so many levels!

Grave

Fugue

Andante

Allegro

Check out Six String Journal’s interview with Tal Hurwitz.

Artist Spotlight and Interview with Colin Davin

Praised for his deeply expressive musicianship, his musical intelligence, and virtuosic technique, Colin Davin seems to have it all. Colin is an active international soloist, chamber musician, recording artist, and teacher, with projects and performances from Aspen to Afghanistan to the Alhambra.

Colin took some time recently to sit down and share some of his insight, philosophies, and advice with Six String Journal. Hope it inspires you all.

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

My study of the guitar began fairly early – I was 7 years old, and my father, himself an amateur guitarist, signed me up for lessons. In a way, it was not so different than the many other things I was doing as a kid, like little league or cub scouts. Taking advice from an interview with the folk-rock guitarist and singer-songwriter Richard Thompson, it was determined that classical guitar would give me the best chance at being able to play a wide range of styles. And while I’ve since branched out from time to time, at that early age, classical struck a chord with me, and I’ve never lost that enthusiasm.

What guitar or guitars do you perform on? Strings?

I play a guitar by Andrea Tacchi, from Florence, Italy, his model “Coclea Thucea”, made in 2004. For those who don’t know Andrea’s instruments, they are both of the highest quality in sound and craftsmanship, and a bit unusual. The name Coclea Thucea refers to the inner ear (coclea), both for its obvious connection to hearing music, and for its spiral design, in the ratio of a Fibonacci sequence. Andrea incorporates aspects of “sacred geometry” connected to this ratio in his design and construction. And the “thucea” is a portmanteau of the Latin names for spruce and cedar, as the top is a three-piece construction using both materials (two outer panels of cedar with a central panel of spruce). For years I’ve played Hannabach Silver 900/200 trebles, med-high tension…a perfect balance of warmth, color, and clarity, in my opinion. I have less devotion when it comes to basses, but most often settle on high tension Augustine or D’Addario.

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

My influences have been pretty wide ranging over the years, but early guitar heroes of mine were Julian Bream, John Williams, Stevie Ray Vaughn, B.B. King, and Django Reinhardt. When I was 10, I heard Jason Vieaux play for the first time, and that pretty much cemented my desire to make music my life. A few years later, I was Jason’s student, and now I’m his colleague on the faculty at the Cleveland Institute of Music!

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

I play in a duo with the brilliant harpist Emily Levin, and we’re planning a live-concert recording in New York this February. The combination of guitar and harp is absolute magic, and deeply under-explored (they might be the two most intimidating instruments for composers, which explains the lack of repertoire). We’ll be recording transcriptions of ours of de Falla’s “El Amor Brujo” in its entirety, Ravel’s “Ma Mère l’Oye” (Mother Goose) and Philip Glass’s “Etude no. 6”, originally for piano. In addition, we’ll feature world premiere recordings of works we commissioned, by Dylan Mattingly and Will Stackpole.

Practicing and Performing

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

Practice hours are variable day to day, and week to week. Such is the nature of a performing and teaching musician – the lack of a consistent schedule presents unique challenges to getting in the hours. I’d say I reliably get in 20-25 hours a week, possibly in a steady stream of 3-4 hours a day, possibly in a disjointed alternation of heavy days and light days. Because of this irregularity, it has become very important for me to structure my practice with specific goals in mind. I always start with some light warmups, then slurs, arpeggios (often selections from the Giuliani 120, or Villa-Lobos’ Etude no. 1), tremolo, and scales. I always have an eye on what projects are coming up, and try to balance my repertoire practice so that I stay on top of the varied things I have coming up at any given point in a season.

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

The way I approach learning a piece, with an extremely deliberate approach using metronome charts and lots of repetitions, often results in memorization by default. That said, I do sometimes get hung up on a passage, or even an entire section….typically in music that is either very rhythmically complex (and thus requires a different approach than the typical metronome work), or music that is rather easy that I end up learning a bit too fast! For the former, I often break the piece down into digestible sections, trying to memorize, say, one line of music in a day. The next day, I’ll work on the next line, reviewing the previous day’s memory work, and seeing if I can string the two together…and so on. For an easier piece, I use some off-guitar techniques like visualization, singing/solfège, as well as forcing myself into practicing the piece in small- to medium-sized sections, more than I might think I need in order to successfully execute the piece.

Do you have any pre-concert rituals?

On concert days, I do try to keep a certain routine. The night before, I actually try to get a little less sleep than usual – for some reason, being just a little tired works for me, combining with natural performance adrenaline (what some might call “nerves”) to bring me to a nice level of focus and calm. Late morning or early afternoon, I tend to go for a walk; easier to do in certain locations and certain times of year than others! And I general try to eat light throughout the day. I arrive at the hall a little over an hour before showtime, play on stage for about 10 minutes, then head to the dressing room where I’ll intersperse light practicing/warmups with a snack (usually a banana) and some herbal tea (usually turmeric). I think everyone should establish some kind of consistent practice on concert days, whatever might work for a given individual; it really helps put your mind and body into the right space, focusing the energy toward inhabiting the performance space.

Advice to Young Players

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

Be patient, and be thorough. The easiest way to practice is to run through pieces in their entirety, as best you can, flubbing through the hard parts, but kind of getting through it. But this merely reinforces bad habits, and gets you nothing but extra repetitions of mistake-filled playing. More repetitions will bake in those problems, the same way that repetitions of clean, musical playing will bake that in! So, take your time when learning a piece, don’t rush through the process; be deliberate, thoughtful, and careful. When all that early work happens, the final product will be far superior, easier and more enjoyable to play, and far more satisfying for your audience.

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

There’s a whole library of Julian Bream recordings everyone should know. “Popular Classics for Spanish Guitar”, and “Twentieth Century Guitar I (from the Julian Bream Edition)” are two favorites of mine. Beyond that – I always tell students to listen well beyond the realm of the guitar. Some of my best musical lessons have come from listening to non-guitarists, classical or otherwise. A random assortment of influential artists: Toumani Diabate, Punch Brothers, Rachel Podger, Hilary Hahn, Mitsuko Uchida, Alfred Brendel, Joanna Newsom, Leonard Cohen, Roomful of Teeth.

Tangent

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

I tend to read a mix of fiction and non-fiction. Probably my favorite author is the late Portuguese novelist Jose Saramago. His “Death with Interruptions” is among my favorite books; a fable that is funny, sad, and sweepingly beautiful. I’m also a devoted reader of the New Yorker magazine, especially the long-form investigative pieces, profiles, short stories, and arts writing. And of course, the cartoons.

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

When I’m not in the midst of working on music, I honestly just enjoy “being” wherever I am. Hiking is among my favorite activities (though the elevation changes in Northeast Ohio are a bit mild to qualify anything here as “hiking”); and it’s the ultimate in doing something that is very nearly doing nothing: walk, climb, look, smell, listen. Beyond that, I enjoy cooking, coffee, and the occasional night out with a good game to play; lately, I’ve been working on my pool game, though I have a long way to go before anyone would accuse me of actually being good!

***

For more information on Colin Davin visit his website: www.colindavin.com

Paulo Martelli plays Bach

Brazilian guitarist extraordinaire, Paulo Martelli, interprets the music of Johann Sebastian Bach in a beautifully sensitive and profound way. The added resonance of his 11-string guitar enhance the the aura of Bach’s Adagio, BWV1056 enough to make me confess that I would like more strings.

This video comes via the Guitar Coop in Brazil. As with all of their videos, it is shot with extreme quality on both the audio and video fronts.

If you feel compelled to listen to more, enjoy this magestic performance of Paulo playing the Gigue from Bach’s Cello Suite Nº2, BWV1008.

Artist Profile and Interview – Tal Hurwitz

ta-hu-01-0070b.jpgIsraeli guitarist extraordinaire, Tal Hurwitz, recently sat down to share some of his thoughts, philosophies, and experience through an interview for Six String Journal readers. From his thoughts on practicing and recording to his influences, this is a fascinating glimpse into the world of a true artist.

Tal is available for lessons via skype and can be reached at talhurwitz@yahoo.com.


Personal

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

There was always music in the house as I grew up. My father was a big rock fan, he used to play amateur bass and sing, and when I was 9, he took me to a concert of the legendary band Deep Purple. It left a huge impression on me. That is when I started taking guitar lessons. Every kid wants to be a rock star. I, too, was counting on becoming one. I also played a lot of jazz music as a kid until one day a friend said he had a free ticket to a classical guitar concert.

The performer was Aniello Desiderio. That concert completely blew my mind. The next day I started taking classical guitar lessons and since then, it has become an inseparable part of me.

What repertoire do you enjoy playing the most?

I enjoy playing a variety of styles, but if I have to choose one, I go for Bach. We have to feel extremely lucky to have Bach as part of our repertoire. Unfortunately most of the great composers did not write for the guitar, or it is not possible to make descent transcriptions to their music, but the greatest one of all, Johann Sebastian Bach, is very playable and that is a blessing.

What guitar or guitars do you perform on? Strings?

Over my career, I have played and owned many guitars: Paco Santiago Marin, Daniel Friederich, Simon Marty, Jose Romanillos, Andreas Kirmse, and Andrea Tacchi. Since last year I am playing a beautiful Andrea Tacchi made of Birdseye maple back and sides and a gorgeous piece of cedar top. The quest after the perfect guitar is a journey of a lifetime. As a matter of fact, there is no perfect guitar, but the ongoing search always fills me with enthusiasm. I have always played Savarez strings. I use a mix of them: 1st string nylon, 2nd and 3rd carbon. All trebles I use normal tension, while the bases are high tension. I really like the balance this combination makes.

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

Wow, I could count so many names, but I’ll try to keep it short. Very naturally some of my teachers have had a great influence on me, Marco Tamayo, Carlo Marchione, Ricardo Gallen, Joaquin Clerch and Costas Cotsiolis and my composition teacher, Adam Stratyevsky. All of them are amazing musicians and have influenced me greatly in different ways.

From the non-guitarists, I think about two very special musicians to me. The violinist Leonidas Kavakos and the pianist Grigory Sokolov. Both make you completely forget that they are playing an instrument, they become music, and that should be the goal of all of us.

My great friend, Ariel Mann who is one of the most diverse musicians I have ever met. We grew up together in Israel, and since we were kids, were pushing each-other and explored music day and night. Today he is living in California and is composing music for Walt Disney.

I could think about at least 200 more names but I think we better stop here.

Being influenced by others is a most important thing. It helps you build up your own character, and if you are smart, you can take all this influence and make something original out of it. This ´something’ is you!

What recording/s are you most proud of?

To be honest, I am never really happy about my recordings. I always think to myself, “Oh, if I had another chance I would do this or that better.” This is just my nature. I feel that the fantasy in my head is always better than the outcome.  I prefer live concerts. What I am trying to say is, when you make a recording, you have to accept that in the eyes of your listeners, this is who you are – for good! You can’t change that. I love changing constantly my interpretation and that makes it difficult to live in peace with recordings.


Technique and Performance

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

I rarely practice more than 1.5 hours a day.  I believe that when a guitarist has explored the instrument enough to understand its anatomy and the relation between body-fingers-guitar,  namely developed a good technique, he should not over practice. In fact, over practicing can harm one’s development and eliminate the joy of making music. Music is a mirror of the soul of the artist, and should express feelings. If someone sits down to practice between four walls, eight hours a day, he can’t have much of a life outside of that room. If there’s not much living, there’s not much to express.

Also, I rather spend quality time with my guitar and give every note I play full attention and love. If I do that 8 hours a day, I don’t think I could focus my mind the same way. We as performers, have to educate our mind and fingers to always execute with full commitment, so that in a concert situation, we will feel just like any other day. If someone is used to practice without full attention, he should not expect a miracle to happen come concert day.

One of the worst ways to practice is in front of a TV!! My students know that it is absolutely forbidden. Practicing without focus will make you play concerts out of focus.

It is important for me to clarify that as a kid and as a music student, I used to work much more every day. I wanted to play cleaner, faster and just to push myself. However, as I grew older, I realized, I could never be the cleanest player on earth, nor the fastest… but what I could do the best, is be myself. Bring out my expression which is unique to me, the best I can. This concept lowers your stress levels and allows you to be a happier person and actually a better artist.

I do however spend much time with the score (no guitar at hands). This helps me to understand the music better and to develop an interpretation. It also definitely increases a musical fantasy. I think that in general, we guitarists, are too preoccupied with the fingers, and too less with the mind. The music comes from the mind and not from the fingers.

I also spend much time thinking of the music and visualizing my repertoire, while on trips, a flight, a train, and also before falling asleep.

Do I structure my practice? I used to do it as a student. Actually writing a diary, and write down times that are devoted to any material I was working on at the time, for example: warm up, scales, arpeggios, and individual phrases that I had trouble with.

Today I can tell you with all honesty, I haven’t practiced anything like scales or arpeggios for more than 10 years. I rather devote my time to the interpretation. I sit down with the score, read it once or twice, thinking on how I would like to play it, visualizing it in my head, and then I take the guitar and try find ways to execute ideas. That procedure really saves time, and make you more confident in your interpretation.

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

Basically there are three main ways to memorize music. Fingers (muscle memory), inner hearing (hear the music in your head) and photographic memory. I try to devote time to each, and each of them is kind of a back up plan for the other. If you work on all of them, you are basically covered.

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

I haven’t published any editions. If someone is curious or interested enough in my opinion, they can always take lessons with me [Tal teaches over skype and can be reached at talhurwitz@yahoo.com]. However, some of my own music as a composer, is published by Berben editions.

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

When I am at home, sometimes before starting to play, I’ll do a a very short warm up, that includes very slow rasgueados. And single notes for the left hand with vibrato. All in a slow tempo, just to get the blood flowing into the fingers. That does not take more than 2 minutes.

For concerts, I do need more than that of course. Before concerts I perform an exercise I learned from a pianist friend. He claims that this exercise was invented by Franz Liszt. It is practicing on extremely slow and consistent movements of each of the joints on each finger. I imagine that a weight is tied to my finger and I have to lift it in an upwards movement. On the down movement, I imagine that the finger has to push a heavy weight down. This is an amazing warm-up exercise, that takes quite long to complete, but when I am done with it, I feel fire in my fingers.

Do you have any pre-concert rituals?

I do actually. Like many other musicians I find it very difficult to go on stage without having a banana before. It calms down my mind as well as my stomach. I also do half an hour of the Liszt warm up mentioned above. I have another habit that is quite terrible: over-polishing my nails until they are too short!

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

Each of us has different nail form, different technique, and different sound preference. That means that each guitarist has to find his or her own nail shape that suits him or her better. With that said, I am following the tradition of creating some kind of a ramp on the left side of the nail. That allows a point of grabbing the string, sliding a bit on it like a bow, and then the point of releasing the string. I do try to give attention to both sides of the nail, and use the qualities of both of them. An important rule of thumb for me is not to have them too long to play rest strokes OR not too short for free strokes. It is a delicate balance!



Advice to Younger Players

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

Train your mind, at least as much as you train your fingers. Don’t let your fingers lead you, the fingers are your servants not your boss.  Be more curious about the music you are working on. And most importantly, Practice with full concentration and passion. Once you feel you are not at your best, just take a break. More general advice would be: choose your teachers carefully. There are no excuses. In this era, we can even study  with teachers from other continents. I teach guitarists from different parts of the world on Skype and it is very useful.

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

I consider the music from the classical period, like Giuliani and Carcassi, well suited to learn and develop one’s guitaristic abilities. These composers offer a bit of everything: melodic lines, simple tonal harmony, arpeggios, scales, a little bit of polyphony, and so on. The music from that period is usually very idiomatic to the instrument, too. Music from the Baroque period, for example, is often too complicated for beginners to establish a healthy connection to the guitar. However, I think it is also important that the pupils are attracted to the music they learn, so that they want to put the effort and the work into it.

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

Every guitarist should know the historic recordings of Segovia, Bream, and Williams. From the modern guitarists, just to name a few, I like the recordings of Carlo Marchione, Marco Tamayo, and Ricardo Gallen. I think it is more important to focus on recordings from the great pianists, violinists, orchestras, and opera. Learning from them will be the only way to raise the classical guitar to the level of true classical music.

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Drew Henderson Playing Bach

I just came across the Canadian guitarist, Drew Henderson, playing the Allegro from Johann Sebastian Bach’s 2nd Violin Sonata, BWV1003. His performance is brilliant on many levels and the fact that he is playing an 8-string guitar allows him to add in bass notes that would otherwise be impossible on a standard 6-string guitar.

And, here is another magical and virtuosic performance of Joaquín Rodrigo’s Zapateado from Tres piezas Españolas. It seems that Drew does fine on a six-string, too. : )

Hope that inspires you all!

Marcelo Kayath

I’ve always been a huge fan of Marcelo Kayath. His recordings from the 80s had a huge impact on my life and I still think the sound of those records is wonderful in many ways.

So, it was with great delight that I heard that he was recording again! Here is a video of the Gigue and Double from Bach’s 2nd Lute Suite, BWV997.

Though I’m not sure whether or not he founded the wonderful Brazilian Guitar Coop Website/Production Company, it is worth checking out on many fronts – from beautifully shot videos, to amazing artist and recordings, to sheet music, it’s a wonderful resource.

Here is Fabio Zanon interviewing Marcelo. There are many pieces of great advice from Marcelo as he tells his story and what led to recording again.

More coming soon…

Ricardo Gallén plays Bach

Spanish virtuoso, Ricardo Gallén performs another beautiful rendition of Johann Sebastian Bach’s Prelude from Lute Suite Nº2, BWV 997. Ricardo performs this on a replica of an 1820 instrument. The combination of the filming, Ricardo’s playing, and this instrument really evokes something magical.

If you’ve not seen the previous posts on Ricardo check them out!

Artist Spotlight: Ricardo Gallén

Ricardo Gallén on Technique

 

Artist Spotlight: Yuri Liberzon

Based in the San Francisco Bay Area, Russian born and Israeli raised classical guitarist, Yuri Liberzon, is certainly carving out a name for himself in the rising generation of gifted classical guitarists. Watching Yuri play elicits incredulity at his extreme level of control. And once you get past the impressiveness of it all, you realize that what holds your attention is both the beauty, subtlety, and intensity of his musical interpretations.

A graduate of the most elite conservatories in the world, Yuri’s time with acclaimed guitarist, Manuel Barrueco, is most noticeable in his playing and in his repertoire. In a recent concert, he played through Scarlatti, Bach, Piazzolla, and Brouwer with an abundance of elegance and refinement. Active as a soloist, chamber musician, and recording artist, he also spends time teaching and publishing very detailed editions of his repertoire.

Stay tuned for one of Yuri’s favorite warm-up exercises and an interview!

Artist Spotlight: Ricardo Gallén

This is the first Artist Spotlight piece where I hope to share a bit of news about very high level guitarists, highlight some of their videos, and point you in the right direction to explore their musical world.

The first artist I’d like to feature is Spanish guitarist, Ricardo Gallén. I met Ricardo briefly in 1999 at a guitar festival in Granada. He was teaching masterclasses as Eliot Fisk’s assistant and while I played for Eliot in that festival, I realize now that I missed an immense learning opportunity by not having taken a class from Ricardo!

Ricardo Gallén has been praised by countless great musicians, critics, and colleagues as a supreme virtuoso with an intense and wide-ranging musical intellectuality. The great Cuban composer and conductor, Leo Brouwer, has said that Gallén possesses, “great creativity and virtuosity that is felt only by looking at his hands.” Besides performing and teaching all over the world to high acclaim, he is becoming known for his recordings and performances of music by Johann Sebastian Bach and in particular, his lute suites.

For a long time, the standard recording of the great John Williams was the required listening as an introduction to these works but I would venture to say that Ricardo Gallén’s recording holds equal footing on many levels and perhaps even surpasses it in his highly nuanced and stylistic interpretations. Another strength that Ricardo possesses is his range in interpreting music from the great classical period guitar composers, Mauro Giuliani, Fernando Sor, to premiering new contemporary works by composers like Leo Brouwer.

Here is Ricardo’s webpage and his Facebook page for more current news on his musical activities. Below are some links to his recordings and a few beautifully filmed videos. Hope this inspires you all!