Featured Artist and Interview with Thomas Athanaselos

Hailing from Greece,  guitar virtuoso Thomas Athanaselos recently took some time to share his thoughts about his journey with guitar. Equally comfortable playing jazz arrangements, his own evocative compositions, and classical repertoire, Thomas’ playing is musical, fluid, and direct. I hope you enjoy learning a bit more about him here.


When did you start playing and why? Or, what drew you to the guitar initially?
I started playing the guitar at the age of 11. My influence was a teacher in primary school who always accompanied the school choir with his guitar and he really seemed to enjoy it. Next year my parents just signed me up for a Music School. As time went by I realized my passion for the guitar and music generally.

What repertoire do you enjoy playing the most?
I have always loved playing various music styles from different music periods. The last years my repertoire includes music from the 18th-19th Century but also contemporary compositions of mine and other composers.

What guitar or guitars do you perform on? Strings?
Over the last years I’ve performed on a guitar built by Vassilis Sigletos (GR) and I use Knobloch Actives (Carbon) high tension strings.

Which guitarists/musicians have had the most influence on you?
Throughout the years I have also played the electric and acoustic guitar, so my first influences were guitarists like Steve Vai, George Benson, Robben Ford and Al Di Meola. At the age of 16 when I focused on the classical guitar, guitarists and musicians from 18th to 21th century like J. S. Bach, Augustin Barrios Mangore, Fernardo Sor, Isaac Albeniz, Joaquin Rodrigo and the great Paco de Lucia had a big impact on me. Of course, I can’t dismiss Astor Piazzolla’s music.

If you have recordings, which recording/s are you most proud of?
I recorded my first album ‘In Memoriam’ in 2018, which received very good reviews so I could say for sure that this is the recording I am proud of. Recordings are always hard to satisfy you 100% so I hope the next one will be even better.

What are some up and coming projects (recordings, concerts) you are excited about?
Right now due to the situation Covid-19 caused, we are facing a different routine and lifestyle which is something new for everyone. That makes it difficult to arrange concerts so I am focusing on composing and studying new repertoire.

How much do you practice? And, do you structure your practice in any particular way?
I am always careful to keep my mind and my fingers in a good condition. When I have arranged concerts I practice every day 2-3 hours.

Do you deliberately memorize music or have a technique that helps assimilate music into memory?
I don’t have any specific way to memorize music. Sometimes the harmony and the melodic line of the piece makes it easier to memorize it. In any case I try to be careful and concentrated when I first study a piece. Many repeats and slow playing also helps me to find the details and deeply understand the score.

Have you published any editions or do you plan to publish your own editions in the future?
Yes, I have published four compositions of mine through Bergmann Editions.
You can find the scores here: Bergmann Editions.publications.jpg

Do you have any pre-concert rituals?
For sure, I always try to take some time to relax on my own and not to get in touch with many people. This helps me to stay calm and concentrated on my program. I like to play some scale exercises or some slow tempo parts of the pieces. To me  these are the essentials. The ideal preparing for me is maximum 45 minutes before the concert.

What single most important piece of advice about practicing would you offer to younger players?
I think young players should first start training their brains. They should try to create their own personality in music generally and this will lead them to new paths of playing.

Do you try to stay healthy? Exercise? Follow a particular diet? Have a favorite pre-concert food?
As our ancestors used to say ‘a healthy mind in a healthy body’. So I always try to exercise because it also affects positively my mood and my playing and I have healthy lifestyle in general. I don’t have a specific pre-concert food. A good meal for sure and maybe a bar of chocolate just before the concert!

What is your favorite way to spend time when not practicing?
Running, cycling, watching movies, listening to music, and spending some time walking around with my dog!!




Thomas Viloteau plays Fuoco

Thomas Viloteau‘s rendition of Roland Dyens’ Fuoco from Libra Sonatina is wonderful. As usual, his playing is technically precise, musically crystal clear, and from the looks of it, effortless. I hope he did videos of the other movements! For more on Thomas, check out Six String Journal’s interview with him here.

Time to practice!


During a lesson last night, a musically talented young student played Roland Dyens’ Tango en Skai. He had played it a few years ago when he was 9 (!) and had been reworking it for fun. Like most young players excited about guitar, the desire to play is overwhelming to the point that it crowds out actual practice and more importantly, the crucial aspect of practice: reflection. A piece will get to a “pretty good” level and, while it may be pretty well played, it is not mastered or excellent. So, we addressed this by using the first run in Dyens’ Tango as an example of how to actually practice for marked improvement.

Tango 1.jpg



Tango RH.jpgThis step is easy to spend the most time on because it will make you question right hand choices if you have not thought about them in this context. Actually seeing the open strings is different than seeing the original score and imagining the right hand. New patterns are optically sought out and if you are a visual learner, seeing a map is easier than imagining it. We chose to stick with the student’s right hand choice but it was interesting to watch such a talented player struggle to play it very slowly (sixteenth = 60 bpm). We lingered luxuriously in this stage playing at different tempi until we were convinced the right hand’s sense of rhythm and pulse had tightened up.



Tango dynamics.jpg



We answered some key questions. Where is thumb? Working out when and where thumb plants on the strings between strokes or in anticipation of strokes greatly increases right hand stability for the rest of the fingers. Where can I plant other fingers? Because the right hand movement is continuously ascending towards string 1, planting helps control dynamics and insures that the fingers are in place before their turn is up. Then, of course, we spent time practicing the incorporation of planting into the right hand choreography. After a few minutes, the right hand was behaving like a true champ: strong, secure, comfortable, happy!

Dyens plant.jpg



This is where most students who are hyper-focused on left hand and playing are astonished by what they sound like. The playing sounds crisp, exact, musical, and free. Hopefully, at this stage, the aural and physical reward is strong enough to convince the student to start truly practicing and instill the desire to play everything at a level approaching mastery.

*We can go further here by applying rhythms, pushing the tempo to build a reserve, practicing left hand alone, but for now, this is where we left it.

STEP 5 – Take a new passage, and go to step 1!

Hope this helps!

Interview with Enno Voorhorst

Enno Voorhorst


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!


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.


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!