May 29, 2009

Sharon Isbin

Journey to the New World

Release Date: March 24, 2009 Produced by: David Frost Format: CD

The skilled guitar playing of Sharon Isbin sets the tone for this multi-tracked album, with many of the songs broken down into suites and movements. Most songs are arranged from earlier classic works like the four-tracks of “Four Renaissance Lute Works” that includes a five minute rendition of the lovely “Greensleeves.” Within the magnificent “Joan Baez Suite, Op 144,” Isbin works a meditative version of Pete Seeger's “Where Have All the Flowers Gone.” In addition, she brings in original flower girl, Joan Baez to lend her vocals to several tunes (“Wayfaring Strangers,” “Go 'Way From My Window”).

Isbin enlists the country fiddle of American Roots violinist master, Mark O'Connor within the confines of her 13 part “Strings & Threads Suite.” This twists the style of Journey to the New World to a more lively manner, but still classically presented, thereby highlighting the intended story and flow of the album.

Sharon Isbin plays with a softness that is at once pleasant to hear and relaxing to the soul. It transitions into a more Americana style from the original Old World classicism that it begins with. However, Isbin's Journey to the New World should be listened to loudly and immersed in rather than allowing it to slip into the background.

You'll have little problem with finding much to like about Sharon Isbin and her unique new album with a lot to musically say. By Matt Rowe

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Sharon Isbin Journey to the New World (Sony Classical) US release date: 24 March 2009 UK release date: 6 April 2009

By Alexander Ramon

Guitar virtuoso Sharon Isbin’s latest release might be described as a classical companion piece to immigration-narrative albums such as Tim O’Brien’s The Crossing and Tom Russell’s The Man From God Knows Where. Teaming Isbin with renowned violinist-composer Mark O’Connor, and boasting a moving cameo by Joan Baez (Isbin’s first musical inspiration), the record traces the progression of folk music from the British Isles to America, opening with a selection of English Renaissance lute duets, moving through John Duarte’s seven-movement “Joan Baez Suite” (written for Isbin in 2002 and based around the folk songs Baez performed and popularised in the 1960s), and concluding with O’Connor’s eclectic 13-movement “Strings and Threads Suite” which draws upon a range of American music traditions. The playing is, as expected, exemplary, and the result is an ambitious, intriguing and thoroughly enjoyable album.

— 8 May 2009

Tagged as: journey to the new world | sharon isbin

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Page 1 of 2Sharon Isbin: Journey to the New World < Capsule Reviews | PopMatters

5/12/2009http://www.popmatters.com/pm/review/73683-sharon-isbin-journey-to-the-new-world/

In searching the publicly accessible web, we found a webpage of interest and provide a snapshot of itbelow. Please be advised that this page, and any images or links in it, may have changed since we createdthis snapshot. For your convenience, we provide a hyperlink to the current webpage as part of our service.

28 APRIL-11 MAY 2009Gig6 PEOPLE

The American Society ofComposers, Authors and Pub-lishers (Ascap) has named

Oscar-winning songwriter PaulWilliams as its new president.He succeeds Marilyn Bergman,who has stepped down after 15years at the helm. Williams hasbeen Ascap’s vice chairman,writers, for the past two years –a position that will now befilled by Jimmy Webb. Williams’songs include We’ve Only JustBegun, You and Me Against theWorld and Evergreen, for whichhe won an Academy Awardwith co-writer Barbra Streisand.

Scott Black has been namedmanaging director of Tulsa

Ballet.The Oklahoma native willremain as executive director ofthe OK Mozart InternationalFestival, which he has run forthree years. He will take up hisnew role at the end of thisyear’s festival in June. A gradu-ate of the University of Okla-homa College of Fine Arts, Blackhas worked as an actor, directorand producer, including threeyears as a manager forBroadway and off-Broadwayproductions in New York City.

Matthew Cosgrove has beennamed general manager of

Onyx, the UK-based classicallabel, effective immediately.Cosgrove, who has been bothhead of Warner Classics andhead of A&R at DeutscheGrammophon, succeeds PaulMoseley, the label’s owner/director, who has relinquishedday-to-day management dutiesto join Decca as its generalmanager, A&R and operations.

Margreta Elkins, one ofAustralia’s best-known operasingers, has died at the age of78. The mezzo-soprano per-formed alongside such namesas Luciano Pavarotti, MariaCallas and Joan Sutherland.Elkins spent much of the 1960sin the UK, where she sang in theLondon premieres of Britten’s AMidsummer Night’s Dream andMichael Tippett’s King Priam,and sang for WinstonChurchill’s 90th birthday cele-brations. After settling inBrisbane in 1970, she lecturedand taught at the QueenslandConservatorium.

Violinist Frank-Michael Erben,concertmaster of the LeipzigGewandhausorchester, hasbeen named principal conduc-tor of the West Saxony Sym-phony Orchestra (WSSO). The43-year-old, who has been inhis current position since 1987,will begin his new role inSeptember. Erben lectures atthe Leipzig Hochschule fürMusik und Theater, and hasbeen a member of the Gewand-haus Quartet since 1993.

Tom Gulick will step downfrom his role as executive direc-tor of the Honolulu Symphonyat the end of June. He will notbe seeking an extension of histhree-year contract. Boardchairman Peter Shaindlin saidGulick might leave earlier,should his ‘next employmentopportunity require his pres-ence elsewhere prior to thatdate’, in a memo to board mem-bers. He also confirmed that asearch committee would be setup to find Gulick’s successor.The orchestra has been affect-

ed by the recession, with recentreports alleging musicians hadnot been paid throughout themonth of March.

Atlanta Ballet (AB) has namedVirginia Hepner its interimexecutive director, as of 1 May.Hepner, will be stepping in toreplace Barry Hughson, whohas been appointed executivedirector of Boston Ballet.The ABboard has already started anational search for a perma-nent executive director. Hepnerhas held several leadershiproles including working on the‘Brand Atlanta’ campaign from2005 to 2007.

The Winnipeg SymphonyOrchestra has announcedRichard Lee as its next assistantconductor. Lee, 38, has beenoffered a two-year contract,beginning with the start of thenext season. He takes over fromRei Hotoda, who is moving tothe same role at the DallasSymphony Orchestra. Lee iscurrently assistant at theQuébec Symphony Orchestra.

Dallas Opera (DO) has pro-moted Jonathan Pell , itslong-serving director of artisticadministration, to the positionof artistic director – a positionlast held by Nicola Rescigno,who stepped down in 1990.Pell, who has been a judge inopera competitions in the USand abroad, ‘has a casting giftthat is second to none’ accord-ing to DO’s interim generalmanager John T Cody, whostepped in after George Steelleft the position in January (seeGig Vol 5 No 1). Pell has alsohosted the Dallas Opera Guild’sInsights programme since 1985,and presents masterclasses on‘The Art of the Audition’ toother companies.

Fanny Waterman, founder ofthe Leeds International Piano-forte Competition, is the newpresident of Harrogate Inter-national Festivals. She will betaking an active role in theplanning of the Summer MusicFestival, and plans are afoot fora special weekend featuringher favourite artists for her 90thbirthday in 2010.

For Sharon Isbin, the freedom accordedby the guitar allows for experimenta-tion and creative expression

‘My first exposure to the guitar was throughfolk music,’ explains Sharon Isbin, discussingthe inspiration for Journey to the New World, herexploration of folk instrumentals fromRenaissance England to US ragtime and swing.‘My parents taught folk dancing, so I grew uplistening to and watching the dances. Therewas a folk dance club at our home, which JoanBaez’ aunt used to come along to – so I actuallygot to know her before I knew Joan!’

Baez’ presence is strongly felt on the newalbum – not only does she sing on one track,the CD includes the premiere recording of JohnDuarte’s Joan Baez Suite. ‘We came up with a lotof source material,’ Isbin recalls,‘and in the suiteyou’ll hear some familiar songs. He’s done it in avery creative arrangement, and once [Baez]heard it, she offered to sing on the recording.’

The CD begins with Isbin’s interpretations ofRenaissance folk tunes, including her interpre-tations of Dowland’s lute music. ‘I’d performedthese works five years before recording them,’she adds. ‘adding embellishments – some ofthe Dowland works had embellishmentsmarked, but it would be characteristic of thestyle of the time to change things in therepeats, and that’s what I do. I created an idealvision in my head of the colours, the phrases,the dynamics, the tempi and the breathing – Ihad it all in my head as I was doing the othertracks.’ Isbin likes to compare the guitarist’s artwith that of a painter: ‘In the different phrasesand the repeats, you choose different coloursthat capture the character and spirit of thework and it changes dramatically.’

The guitar’s role as a classical instrument, inIsbin’s view, gives it a flexibility that otherinstruments lack. ‘One of the ways I speak as aguitarist is with the lyricism of a singer,’ shestates. ‘We have an ability that a pianist doesn’t– to use the point between two notes that asinger or a violinist can, and a certain kind ofarticulation, like the use of the fingernails andhow much flesh to use on the instrument.These colours are only possible with a guitar.’

Isbin’s focus on virtuosic technique, as wellas her drive to try new things with each CD,might stem from her earlier passion – when shewas growing up, she wanted to be a scientist. ‘I

began playing in earnest when I was nine, inItaly, when I was too young to know what Iwanted to be. I was first interested in modelrockets and science, and my father told me Icouldn’t launch my rockets until I’d put in anhour of practising. Then, when I was 14, I won acompetition where my prize was to perform infront of 10,000 people with the MinnesotaOrchestra – I found this was even more excitingthan sending grasshoppers up into space!’

She passes this excitement on to the com-posers she works with, having commissionedand premiered more concertos than any otherguitarist. ‘Some adapt to the instrument veryquickly, like Joseph Schwantner and Tan Dun,who was coming from the tradition of the pipa,the ancient Chinese lute. His concerto unitedthe Spanish guitar and flamenco with theancient Chinese instrument.’ Despite the small-er classical repertoire, Isbin speaks of theguitar’s advantage over other instruments inthat ‘there are no preconceptions, and muchmore freedom’. John Corigliano’s Troubadors, forinstance, required the normally seated Isbin tobegin the performance backstage and movewith the guitar around the stage, ‘so we had to find some way to hold the instrument withsuction cups and devise a wireless sound sys-tem to allow me to walk on playing a very fast,virtuosic run’.

www.sharonisbin.comArtist’s site

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Sharon IsbinPhoto: © J Henry Fair

Interview: Christian Lloyd

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06-07 GV5-08 People&Profile 22/4/09 5:06 pm Page 6

Mwe3.com April 20, 2009

http://www.mwe3.com/reviews/SharonIsbinJourney/

SHARON ISBIN

Journey To The New World

(Sony Masterworks)

Classical guitarist Sharon Isbin is one of the preeminent musicians

in the world and she brings her legacy into the 21st century with

her 2009 CD Journey To The New World. Released by Sony

Masterworks, the CD is

something of a departure for Ms. Isbin. Featuring folk music icon

Joan Baez and violin virtuoso Mark O’Connor, Journey To The New World combines

classical guitar sounds with 20th century American folk music. Commenting on her CD Ms. Isbin adds, ‘It’s one

of the most unusual and creative albums I’ve ever done. It’s been percolating subconsciously for many years,

because folk music was my introduction to guitar and I have been touched so powerfully by the music and voice

of Joan Baez.’ Folk and classical music are two of the most vital outlets for guitarists and when combined they

yield some heavenly musical fruit. In fine form still, Joan Baez is featured here on a couple of tracks and O’Connor

is prominently featured on his self-composed “Strings &

Threads Suite.” Other highlights of the 29 track Journey To The New World include Isbin performing the music of

classical guitar icon Andrew York and the world premier recording of the seven part instrumental “Joan Baez

Suite” written as a tribute by the late English composer John Duarte. In fact, it was after she heard Ms. Isbin

performing the “Joan Baez Suite” that Ms. Baez offered to sing on the album. A rewarding spin from start to

finish, Journey To The New World is a fine choice for fans of both classical guitar music and acoustic guitar-based

American folk music. www.SharonIsbin.com

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INTERVIEW WITH SHARON ISBIN FOR GENDAI GUITAR MAGAZINE (Japan), June 2009 Issue

Could you tell us about the concept of Journey to the New World, the first CD with Sony label?

The music explores the evolution of American folk music through several hundred years beginning in the British

Isles with 16th and 17th century Renaissance lute duets in which I perform both parts: Drewrie’s accordes

(Anonymous), Lord Willoughby’s Welcome Home (Dowland), Rossignol (Anonymous) and Greensleeves (Johnson.)

I vary the colors and embellishment in repeats to explore different characters, moods and textures.

I follow with English composer Edward Flower’s brilliant arrangements of Drunken Sailor with its 17th century

Irish origins, and Wild Mountain Thyme which evokes an 18th century Scottish song. The journey then crosses the

ocean to America where the transformation of these roots takes on a new and distinct vernacular.

John Duarte wrote his Joan Baez Suite for solo guitar for me in 2002, and it includes many songs that Baez

performed in her early career. After hearing my performance of the music, she offered to sing on my recording. I

selected Wayfaring Stranger and Go ‘Way from my Window to perform with her. She was a joy to work with, her

voice is magnificent, and artistically we share a very special chemistry together. This album is in homage to her.

The journey concludes with Mark O’Connor, the finest folk violinist in America in a style we call country fiddle.

He is truly amazing! When I heard his Strings & Threads Suite for solo violin, I suggested he arrange it for the two

of us to perform. We premiered it in concert November 2007 and recorded it the following month.

You can hear samples of the music, watch a video of my performance with Mark, and see photos of me with Joan

Baez on my website: http://www.sharonisbin.com

I understand that Joan Baez is your music hero. When and by which song Joan attracted you? Do you have any

special memory about her?

“Sweet Sir Galahad” was one of my early favorites, then later “Diamonds and Rust,” but I love so many of her

songs it’s hard to single out a few. She was the only person in my life I ever wrote a fan letter to, back when I was

just out of college. Her music has always moved me to tears. When we had our first rehearsal in my home in New

York, she asked me first to play for her and placed a chair about a meter in front of mine. As I began to play, she had

tears streaming down her face. It was a very powerful, intimate and poignant experience to have shared with her, a

total unity of souls.

Could you tell us about Joan’s recent music activities?

Joan has been touring the world this last year to promote her latest recording, Day After Tomorrow, and to celebrate

the 50th anniversary of her career.

Are there any episodes about her in making recording of the CD?

When I took a taxi from the airport to Joan’s home, the driver got completely lost and I arrived 1.5 hours late. He

wasn’t too bright… But we finally found her house and it all worked out. We rehearsed with her 94-yr old mother in

attendance, ate persimmon fruit from her garden, and had a beautiful next day driving across the Golden Gate

Bridge to the California countryside where the Skywalker Sound Studio is located. On the way to our recording, she

was learning a song called “The Rose of Sharon” and humming it in the car. We spent ten wonderful hours together

that day.

Could you describe in detail how John Duarte composed Joan Baez Suite?

After the success of Duarte’s Appalachian Dreams suite, I asked him to write another work for me, this time

honoring Joan Baez whose artistry I’ve long admired. Baez loved the idea and gave it her full support. John and I

each came up with a list of songs, and from these he created the seven-movement suite. Included are some

especially famous ones like “Where Have All the Flowers Gone,” “House of the Rising Sun,” “Barbara Allen,”

and “Lily of the West.” His approach was very beautiful and creative, using harmonics to suggest funeral bells in

“Barbara Allen,” parallel fifths in the bass of “Unquiet Grave” to suggest a pacing ghost, a rising chromatic line in

“The Trees they do Grow High” to create the image of a young boy growing up, a bass drone in the second

variation of “Silkie” to give the feeling of Scottish bagpipes, the bugle call of “Taps” played in American military

funerals at the end of “Where Have all the Flowers Gone” to evoke fallen soldiers, and so on. I had the opportunity

to play the suite for him, ask questions, select tempi and coach with him at his home in London just a couple of

months before he died. Knowing the end was near, we listened with tears in our eyes to one of his favorite pieces of

music, Henry Purcell’s “Lament” from Dido and Aenaes which he added halfway through “Unquiet Grave.”

I understand Mark O’Connor wrote Strings & Threads Suite based on folksongs of 13 American roots. Could you

tell us about what are 13 roots?

Mark’s family emigrated from Ireland to the United States during the famous potato famine, settling in the thirteen

original colonies before migrating to the West in the early 1900’s. Each movement in Strings & Threads represents a

different folk style and appears in a chronological form that reflects the evolution of American folk music and his

family’s journey including reels, waltzes, jigs, blues, spirituals, ragtime, swing and bebop.

Did you get any musical influences from your parents?

My parents taught folk dancing and as a child, and I would listen to the recordings they enjoyed and watch them

dance with their club members in our home, including Joan Baez’s aunt Mimi Kingsley who I met when I was

about five years old! My mother loved classical music, and encouraged us all to study an instrument. I began

classical guitar at age nine when we lived in Italy. When I was in college, it was my mother who suggested I study

Baroque music with the great Bach scholar and keyboard artist, Rosalyn Tureck.

Could you tell us about Andecy by Andrew York, which is recorded in your new CD?

Andecy is a hauntingly beautiful work inspired by the many early American, English and Irish folk tunes Andrew

heard his father and uncle perform. I chose colors and dynamics in the repeats that would add special character and

feeling to the music.

I understand this year is the 20th anniversary of creation of classical guitar department at Juilliard School. How long

have you been the director of the guitar department?

I was asked to created the guitar department in 1989, and have been its director and sole faculty. A year ago, we

added an undergraduate degree so now Juilliard offers both Bachelor of Music and Master of Music degrees in

guitar. Applications must be received by December 1, and auditions take place in New York end February or early

March each year.

How many professional classical guitarists have you produced up to the present?

It would be difficult to count! I’ve had students from 16 different countries and many have returned to their

homelands to become leading players. Three students from Japan were Go Nagano, Kenta Kondo, and Masahiro

Masuda. Other former students you may be familiar with include Antigoni Goni & Kevin Gallagher (each 1st Prize

winners of GFA Competition), Mats Bergstrom, Ben Pila, Giuliano Belotti, Johannes Kreusch, Luis Quintero, and

many more.

What is your daily exercise for your good health?

I enjoy a healthy breakfast and practice Transcendental Meditation twice a day which I learned as teenager. I eat

organic and mostly vegetarian whenever possible. Daily exercise is either jogging, walking, hiking, cross-country

skiing, or dancing (I am taking lessons in Latin dance.)

You have received many awards in your professional career. Could you tell us about your most recent awards you

have received?

I received Guitar Player magazine’s Readers’ Choice Award for Best Classical Guitarist for several consecutive

years. Two of my recordings received GRAMMY Awards: Dreams of a World and Concerti by Christopher

Rouse/Tan Dun.

Could you provide us with your message to Japanese guitar fan?

If you are interested in studying with me, come to the Aspen Music Festival (http://www.aspenmusicfestival.com)

where I give four weeks of master classes each July/August in the beautiful Rocky Mountains of Colorado.

Applications are due early January. In addition to the guitar program, students can hear hundreds of concerts with

top instrumentalists, singers and orchestras. You can also learn from me online at http://www.ivideosongs.com

where I teach two works of Savio and Lauro and talk about my experiences.

Tell us about your schedule of concert tour, recording etc. in 2009?

This summer I perform at the Ravenna Festival in ITALY, in Miami, and at the Aspen Music Festival where I direct

the guitar department. Next season, I am soloist with the Detroit Symphony, Nashville Symphony, and Pacific

Symphony in Los Angeles, and give solo recitals, concerts with violinist Mark O’Connor, and performances with

Paul Winter and Thiago de Mello (Journey to the Amazon program). I also continue filming a documentary on my

life and work. © Sharon Isbin

Over

MUSICA Maggio 2009

Domande per Sharon Isbin -- Venerdi di Reppublica Magazine, May 1, 2009, Italy

1) Lei è arrivata ai vertici della musica internazionale in un campo, quello della chitarra,

dominato dagli uomini. Qual è il segreto?

You reached the top of the classical guitar world, which is mainly a male-dominated field

How did you manage to do this?

I focussed on becoming the best musician and guitarist I could be. This meant seeking

excellent teachers like Oscar Ghiglia, Alirio Diaz, Segovia, and ten years study of with

Rosalyn Tureck for the music of Bach. I’ve also worked with some of the finest composers

of our time, creating popular new concerti which orchestras want to perform. Other projects

have taken me outside the classical realm resulting in unusual, never-before-heard

collaborations in a variety of genres. Along the way, I was asked to create a guitar

department for The Juilliard School, which celebrates its 20th anniversary this year. My

students come from 16 different countries – including Italy of course -- and their influence

is felt worldwide.

2) Per il suo ultimo Cd si è avvalsa della collaborazione di Joan Baez. Come è nato il

sodalizio?

In your latest CD you perform with Joan Baez. How did this collaboration happen?

After the success of composer John Duarte’s Appalachian Dreams suite, I asked him to

write another work for me, this time honoring Joan Baez whose artistry I’ve long admired.

She loved the idea and gave it her full support.

The Joan Baez Suite for solo guitar includes many songs she performed in her early career,

including “Where Have All the Flowers Gone,” “House of the Rising Sun,” “Barbara

Allen,” “Lily of the West,” and others. After hearing my performance of the music, she

offered to sing on this Sony recording titled Journey to the New World. I selected Wayfaring

Stranger and Go ‘Way from my Window to perform with her. She was a joy to work with,

her voice is still magnificent, and artistically we share a very special chemistry together.

This album is in her homage, and Joan is touring the world this season in celebration of the

50th anniversary of her career. Would you believe, her aunt used to folk dance with my

parents in our home in Minneapolis every month as a member of their university club. So I

met Joan Baez’s aunt years before, at age five!

The concept of this CD begins with 16th century Renaissance lute duets which I perform

with myself, and explores the evolution of folk music through 17th and 18th century

Scotland and Ireland, crossing the ocean to America and where the transformation of these

roots became a new and distinct vernacular.

You can hear samples of the music, watch a video of my performance with the virtuoso folk

violinist/composer on the album Mark O’Connor, and see photos of me with Joan Baez on

my website: http://www.sharonisbin.com

3) Si dice che lei tragga continua ispirazione dai suoi frequenti viaggi. E' vero?

It seems that you get inspiration from your continuous travelling. Is that true?

Performing has been a great way for me to discover the world. I’ve learned so much about

different cultures and people, and all of these travels and their rich tapestries of life have

influenced my music. Whether it’s meeting a famous koto player in Japan or pipa player

from China, discovering the romantic gardens of the Alhambra, hiking in the Brazilian

Amazon, or being inspired by the ancient histories of Greece and Israel....

4) Il compositore Leo Brouwer ha detto di essere stato colpito dalla chiarezza e dal lirismo

delle sue esecuzioni. Si riconosce in questo tributo?

Leo Brouwer said he was struck by the clarity and poetry of your playing. Did you recognize

yourself in this definition?

Leo was one of the first composers to write for me, and his Afro-Cuban influenced El

Decameron Negro has become legendary. It is a work inspired by poetry and which

demands color, clarity, contrast and emotion, so I’m glad Leo feels that I have captured his

intended spirit.

5) Come è nata la sua passione per la chitarra classica?

How did you become interested in classical guitar?

Our family lived in Varese for a year when I was nine years old. When my oldest brother

asked for guitar lessons, my parents discovered the wonderful classical guitarist Aldo

Minella who commuted weekly from Milan to teach. But my brother’s fantasy was to be the

next Elvis Presley, so he declined the lessons and I volunteered to take his place. I loved it

immediately.

6) Ha suonato con i grandi del jazz e del rock, ha inciso con la New York Philharmonic l'unico

Cd ma registrato da questa celebre orchestra con un chitarrista, ha vinto un Grammy Award,

ha firmato la colonna sonora del film di Scorsese “The Departed”, ha avuto 39 copertine in

tutto il mondo. C'è un traguardo che non ha ancora raggiunto?

You performed with great jazz musicians and rock stars, recorded with NY Philharmonic the

first ever Cd this orchestra made with a guitarist, won a Grammy, performed the soundtrack

of Scorsese's The Departed, were featured on 39 cover around the world. Is there any goal

you haven't achieved yet?

I look forward in the next couple of years to recording the duo that rock guitarist Steve Vai

wrote for the two of us. I’ve also been taking Latin dance lessons these last several months,

and hope to become fluent – both as a leader and follower - in Cha Cha, Tango, Salsa,

Merengue, Rhumba, Mambo and other dances.

7) E' la prima volta che Tan Dun scrive per lei?

Is this concerto (YI2) the first work composed for you by Tan Dun?

Tan Dun wrote the guitar concerto for me in 1996, and I premiered it in Germany with the

Orchestre National de France. It was his first work for me, and it is inspired by the beautiful

folk tradition of the ancient Chinese lute (pipa) and the rich heritage of the Spanish

flamenco guitar of the gypsies. This remarkable interweaving of the two cultures and styles

makes this dramatic work compelling and engaging. My recording of it is paired with an

equally amazing concerto written for me by Christopher Rouse inspired by the Barcelona

architect Antoni Gaudi.

8) Lei dice di non considerare un “no” una risposta definitiva. Sempre così ottimista?

You said you didn't take no for an answer. Are you always so optimistic?

When the first composer I ever asked to write a concerto said no and then changed his mind

after hearing me play, I learned that if you really believe in something, you can find a path

to make it happen.

9) Non è la prima volta che suona in Italia. Le piace questo Paese?

This not the first time you perform in Italy. Do you like this country?

Every time I return to Italy I remember my childhood, and am grateful for the opportunity

this country afforded me to discover my passion for the guitar. I love the history, beauty and

diversity of the land, and the warmth and generosity of the people. It was always my dream

to return, and I’m so happy now to perform in Italy every year.

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