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
Share Print Write to the editor Feeds

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 NOW ON POPMATTERS
folk music from the British Isles to America,
opening with a selection of English Renaissance lute
AMAZON Today Recent Music
duets, moving through John Duarte’s seven-
movement “Joan Baez Suite” (written for Isbin in LALA Popular Emailed Commented
2002 and based around the folk songs Baez
performed and popularised in the 1960s), and concluding with O’Connor’s FEATURES
:. Harder Than Moving a Couch: An Interview With
eclectic 13-movement “Strings and Threads Suite” which draws upon a Buddy Miller
range of American music traditions. The playing is, as expected, exemplary, :. Commit: An Interview with Steve Earle
and the result is an ambitious, intriguing and thoroughly enjoyable album.
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06-07 GV5-08 People&Profile 22/4/09 5:06 pm Page 6

6 Gig PEOPLE 28 APRIL-11 MAY 2009

ed by the recession, with recent

ART AN D C R AF T reports alleging musicians had
not been paid throughout the
month of March.
For Sharon Isbin, the freedom accorded
by the guitar allows for experimenta- Atlanta Ballet (AB) has named
tion and creative expression Virginia Hepner its interim
executive director, as of 1 May.
‘My first exposure to the guitar was through Hepner, will be stepping in to
folk music,’ explains Sharon Isbin, discussing replace Barry Hughson, who
the inspiration for Journey to the New World, her has been appointed executive
exploration of folk instrumentals from director of Boston Ballet.The AB
Cosgrove
Renaissance England to US ragtime and swing. board has already started a
‘My parents taught folk dancing, so I grew up national search for a perma-
listening to and watching the dances. There Onyx, the UK-based classical nent executive director. Hepner
was a folk dance club at our home, which Joan label, effective immediately. has held several leadership
Baez’ aunt used to come along to – so I actually Cosgrove, who has been both roles including working on the
got to know her before I knew Joan!’ head of Warner Classics and ‘Brand Atlanta’ campaign from
Baez’ presence is strongly felt on the new head of A&R at Deutsche 2005 to 2007.
album – not only does she sing on one track, Grammophon, succeeds Paul
the CD includes the premiere recording of John Sharon Isbin Moseley, the label’s owner/ The Winnipeg Symphony
Duarte’s Joan Baez Suite.‘We came up with a lot Photo: © J Henry Fair director, who has relinquished Orchestra has announced
of source material,’ Isbin recalls,‘and in the suite Interview: Christian Lloyd day-to-day management duties Richard Lee as its next assistant
you’ll hear some familiar songs. He’s done it in a to join Decca as its general conductor. Lee, 38, has been
very creative arrangement, and once [Baez] began playing in earnest when I was nine, in manager, A&R and operations. offered a two-year contract,
heard it, she offered to sing on the recording.’ Italy, when I was too young to know what I beginning with the start of the
The CD begins with Isbin’s interpretations of wanted to be. I was first interested in model Margreta Elkins, one of next season. He takes over from
Renaissance folk tunes, including her interpre- rockets and science, and my father told me I Australia’s best-known opera Rei Hotoda, who is moving to
tations of Dowland’s lute music. ‘I’d performed couldn’t launch my rockets until I’d put in an singers, has died at the age of the same role at the Dallas
these works five years before recording them,’ hour of practising. Then, when I was 14, I won a 78. The mezzo-soprano per- Symphony Orchestra. Lee is
she adds. ‘adding embellishments – some of competition where my prize was to perform in formed alongside such names currently assistant at the
the Dowland works had embellishments front of 10,000 people with the Minnesota as Luciano Pavarotti, Maria Québec Symphony Orchestra.
marked, but it would be characteristic of the Orchestra – I found this was even more exciting Callas and Joan Sutherland.
style of the time to change things in the than sending grasshoppers up into space!’ Elkins spent much of the 1960s Dallas Opera (DO) has pro-
repeats, and that’s what I do. I created an ideal She passes this excitement on to the com- in the UK, where she sang in the moted Jonathan Pell, its
vision in my head of the colours, the phrases, posers she works with, having commissioned London premieres of Britten’s A long-serving director of artistic
the dynamics, the tempi and the breathing – I and premiered more concertos than any other Midsummer Night’s Dream and administration, to the position
had it all in my head as I was doing the other guitarist. ‘Some adapt to the instrument very Michael Tippett’s King Priam, of artistic director – a position
tracks.’ Isbin likes to compare the guitarist’s art quickly, like Joseph Schwantner and Tan Dun, and sang for Winston last held by Nicola Rescigno,
with that of a painter: ‘In the different phrases who was coming from the tradition of the pipa, Churchill’s 90th birthday cele- who stepped down in 1990.
and the repeats, you choose different colours the ancient Chinese lute. His concerto united brations. After settling in Pell, who has been a judge in
that capture the character and spirit of the the Spanish guitar and flamenco with the Brisbane in 1970, she lectured opera competitions in the US
work and it changes dramatically.’ ancient Chinese instrument.’ Despite the small- and taught at the Queensland and abroad, ‘has a casting gift
The guitar’s role as a classical instrument, in er classical repertoire, Isbin speaks of the Conservatorium. that is second to none’ accord-
Isbin’s view, gives it a flexibility that other guitar’s advantage over other instruments in ing to DO’s interim general
instruments lack. ‘One of the ways I speak as a that ‘there are no preconceptions, and much Violinist Frank-Michael Erben, manager John T Cody, who
guitarist is with the lyricism of a singer,’ she more freedom’. John Corigliano’s Troubadors, for concertmaster of the Leipzig stepped in after George Steel
states.‘We have an ability that a pianist doesn’t instance, required the normally seated Isbin to Gewandhausorchester, has left the position in January (see
– to use the point between two notes that a begin the performance backstage and move been named principal conduc- Gig Vol 5 No 1). Pell has also
singer or a violinist can, and a certain kind of with the guitar around the stage, ‘so we had tor of the West Saxony Sym- hosted the Dallas Opera Guild’s
articulation, like the use of the fingernails and to find some way to hold the instrument with phony Orchestra (WSSO). The Insights programme since 1985,
how much flesh to use on the instrument. suction cups and devise a wireless sound sys- 43-year-old, who has been in and presents masterclasses on
These colours are only possible with a guitar.’ tem to allow me to walk on playing a very fast, his current position since 1987, ‘The Art of the Audition’ to
Isbin’s focus on virtuosic technique, as well virtuosic run’. will begin his new role in other companies.
as her drive to try new things with each CD, September. Erben lectures at
might stem from her earlier passion – when she www.sharonisbin.com the Leipzig Hochschule für Fanny Waterman, founder of
was growing up, she wanted to be a scientist.‘I Artist’s site Musik und Theater, and has the Leeds International Piano-
been a member of the Gewand- forte Competition, is the new
haus Quartet since 1993. president of Harrogate Inter-
Oscar-winning songwriter Paul Ballet.The Oklahoma native will national Festivals. She will be
Williams as its new president. remain as executive director of Tom Gulick will step down taking an active role in the
He succeeds Marilyn Bergman, the OK Mozart International from his role as executive direc- planning of the Summer Music
who has stepped down after 15 Festival, which he has run for tor of the Honolulu Symphony Festival, and plans are afoot for
years at the helm. Williams has three years. He will take up his at the end of June. He will not a special weekend featuring
been Ascap’s vice chairman, new role at the end of this be seeking an extension of his her favourite artists for her 90th
writers, for the past two years – year’s festival in June. A gradu- three-year contract. Board birthday in 2010.
a position that will now be ate of the University of Okla- chairman Peter Shaindlin said
Photo: © Allan Mercer

filled by Jimmy Webb. Williams’ homa College of Fine Arts, Black Gulick might leave earlier, Waterman
songs include We’ve Only Just has worked as an actor, director should his ‘next employment
Photo: courtesy of the festival

Williams
The American Society of
Composers, Authors and Pub-
lishers (Ascap) has named
Begun, You and Me Against the
World and Evergreen, for which
he won an Academy Award
with co-writer Barbra Streisand.
Scott Black has been named
managing director of Tulsa
and producer, including three
years as a manager for
Broadway and off-Broadway
productions in New York City.
Matthew Cosgrove has been
named general manager of
opportunity require his pres-
ence elsewhere prior to that
date’, in a memo to board mem-
bers. He also confirmed that a
search committee would be set
up to find Gulick’s successor.
The orchestra has been affect-
 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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