SPRING 2015 CLASS

MARC RIBOT HONORS HAITIAN GREAT FRANTZ CASSEUS

WHO ISTHE HEXT PACO?

MASTER LUTHIER KENHVMILL

SF CE>~SEJlfA'TO]lY'f. , . , GUITAR PROGRAM " TURNS SO ~Jw..~": . '":,.~ ~~-:; .: ,:, '~ ,.

SH ISBI

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CLASSJCALGU ITAA.MAGA.Z IH G,COM TROUBADOUR DOCUMENTARY SHINES LIGHT ON SHARON ISBIN-'T I:"' OF CLASSICAL GUITA by Jason Wal.sh

It was the day The ghost or lsbln past may have Sharon lsbin possessed different qualities than the reflective \,•oman she is today, but if met Sharon lsbin. there are t\.\•o thi ngs this tvlianesota na· Or rather. it was the acclaimed guitarist's live h~s never lacked, they are determi· mon1ent of reckoni.ngd uring the making nation and focus. of Sharon /sbi11:Troubadour, t he new doc­ In Uie film . she is described by vari­ 11 umentary 011 the life and career of one ous friends as '·intense,'" •·c.hal lenging, of classical music's most renowned gul­ a "firebr;:ind." tarj sts. Her New York apartment neighbor, It .started \\•ith TrLarry Coryell; we were in· Jess aboul youJ' playing.and mol'e abo ut place in the wo rld of classical guitar •.. vilecl to perform together at a concert . conun;ssioningof ne,.o works? They made sure the arrangement or mu­ Oh. i think sq. Because when you sec sic would match each ol our particular what is left behind a[Ler a [m uslcian·s] Whal were you hoping lo see in a docu· styles of playing and tvc;n composed mu­ lifetime. you can't go hear them perform me111aryobour yourself? sic for us, And \I/hat \Ve thought would anymore. But the recordings and the I thoug ht it \\las importa nt to sho ,v son1e be a one-shot deal lasted for five y~ars works that they have writte n for Lhem or the kinds of collaboratio ns that were of touring and recor ding. if you try to ex­ ,.,,ill last an eternity. So, for rne, it's very unique and changedt he course of ::i.nin ­ plore because you Lhink ll will be a com­ import ant Lhat a lil m llke this can en­ strwnent~ ln n1y case. 11- hacl heen \\'Hh mercial success. that"s really Lhe wrong courage oUier guitar ists to play this mu· some or the notable composers or our ,vay to go about It. It h._1sto be organic sic and become CJTan Dun, Chris and authentlc and with n lot of integrity. different listening to a rearticular perfonnl!r. People audiences and reinuigoraring reperroire ? Llm~ho 1>in, Mozart. Beethoven-L hey don 'r necessarily want lo hear the luin­ The funny U1ingis . I've never done any dldn 't \Vrite for the guHar, so ,ve'vc. had dreds of awful V

As the first tvo,nall 10 achieve n1ossiue success i,~ a previously rnole-do1ninated arena, you're often cited as being a role model for young tvome11. Is that something you 're consciou$or in a day-10-

30 Spring 2015 TROUBADOUR

SHARON AN D FRIENDS Sharon wilh (cloch,vise)Jo~n B ae1., Parily thanks 10 you. there ore a number ~lnrtinSc(trsese, S teve Vai, of rising.star female classical guitarb;tf;­ and~ larkO'Con nor. is there anyb6dy y6 u're particularly i",. pressed with? One of yuur Juilliard st(lder,ts it>th e mov­ A11UgoniGo ni studied with me al .Juil­ ie said, ''Sludyi11g loi1h Sharon is a very liarrJ. She was one of the winners or the challenging arul inte.n.-.e e:rperience. " Guitar Foundation of America lnterna· Why do ynu thin/, he sa id that ? lion al Competitio n, and she's gone on tel Because I rt:alJy t!xpect a lot (rou1 U1enl. have a wond erful career. Bokyuug Byun The stud ents I cJ1oose have extrao rdi­ Sharo n lsbi n isn't just a and Alberta Khoury are outsta nding stu­ nary talent. I know they can accomp lish subject of Amotlcan Publle dents well on their way. It is intcr~.sting grea t things, and I ,vant to bring that oul. Television docume ntaries­ that all of the female students I've hacl It means really having high standards she•s also th o fo cus of a at Jullliard, none have bee n Amer icans. and not lelt in~ lhem oif lhe hook. But I rece nt box set, Sharon /sbln: 5 So we s till have a ways to go in this do it in a full way, I do it In a way Lhal Classic Albums. cow, tr y. There 's a ll'adilioo u,at goes is ahvaysresp ectful. I havean enormous back to the 19th century In Europe. llut aclmlratfon fot what they have achieved The 4 3-track packa ge from here, if ·you think of the 1960s, '70s. '80s and thei( talent and the hard work that War ner Classics lnc ludes her and '90s. a lot of the )dd s who become they put In. It is really remarkabl e what I collaborat ion with Rodrigo and V illa-Lo b os livo with tho classica J guitarists as Americans \Yere see these students doing. Some of these New York Phllharmon lc, a Lat• first experhneuting \Yilh rock ~uitar. students are Just brUllant. They wl ll carry in-infused turn with saxophon­ fo rth the mantle. 'J'hey represent .Juilliard ist Paul W ln ter, her collect ion Speaking nf 1/ta/, ,uhConcerto Y/2. Just depends on the moment If some­ Oh yeah ) When you 11se a plastic c,apsule, thing stri kes me as really movlng and and the parachute doesn' t work righ t, Fo r mo re Information, visit exciti ng. what you sa\v jn there ,vas soup. CG sharonlsbl ntroubadour.co m.

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