In this interview, we have Eduardo Martín, one of the leading exponents of the Cuban guitar, who talks about his career, his compositions and his latest album with the Cuban Guitar Quartet.
Máximo Diego Pujol is probably one of the best known Argentine guitarists and composers. Guitar Magazine has had the fortune to talk to him about his career, compositions, and projects.
In this interview, guitarist, cellist, and musicologist Tilman Hoppstock (Darmstadt Academy of Music, Germany) explains his experiences researching music, transcribing, and performing in the 21st century.
Cañizares is the only flamenco guitarist who has played with the Berlin Philharmonic. He was trained in the “peñas” (flamenco clubs) of Barcelona in the 70s as well as the conservatory. He worked for a decade with Paco de Lucia. His transcriptions of classical music are famous, as are his own compositions. In this exclusive interview for Guitar Magazine, we talk to him about it all.
Juan Manuel Cañizares: “Every Concert With Paco de Lucía Was Like a Masterclass for Me” Open »
In this interview, Maestro Iván Rijos (Conservatory of Puerto Rico) discusses the evolution of guitar teaching.
French guitarist Gaëlle Solal shares her thoughts on her latest album “TUHU,” the response it has received from critics, and the future of the guitar in the classical world.
Richard Patterson talks about how the Omni Foundation for the Performing Arts got its start, and the future of presenting and organizing in the wake of the pandemic.
Chinese guitarist Xuefei Yang talks about her experiences as the first major guitarist in China, living in London as a classical musician and performing in a 15th century Chinese Temple during a global pandemic.
Xuefei Yang: “The Chinese Contribution to Art and Culture so Often Gets Totally Overlooked” Open »
Koen Claeys discusses some of his thoughts on chamber music, commissioning new works, and reaching out to new audiences.
Marlon Titre, Director of the Classical Music Department at the Royal Conservatory in The Hague, shares his thoughts on what role institutions have in shaping the future for young musicians.
