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Classical Guitar Mag Th CAUVIN.pdf


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Are there lots of classical guitarists there?
Actually there are lots of classical guitarists all
over the world; it’s very interesting to see that.
For example, a few months ago I was playing in
Ghana and I gave a masterclass there as well. I
didn’t know what to expect but I met so many
great classical players; I am very happy to see the
power of this instrument all over the world. It’s a
very great thing.
Is the repertoire very different? Are they playing
Bach and Scarlatti or are they playing their own
compositions?
The big pieces are played all over the world but
sometimes people play local compositions as well,
which I find very interesting because I am always
trying to develop new music. I have been working
for years with composers and it is very important
for me to develop new compositions and to continue the evolution of the guitar
with new techniques and new
influences
from
different
musics. That is also why I like to
give masterclasses and especially in more exotic places because
there I have the opportunity to
listen to new music and new
compositions. It influences me
and sometimes I pick up pieces
that I will play in my concerts.

have visited many cities that touched me a lot,
and I wanted to share those experiences with my
family, my friends and my public; the best way to
do this was with music. The idea was that, in
association with composers from different countries, generations and styles, we would compose
music like a short film about a city that we both
like. The music is influenced by the popular
music of the city but we try to go further and also
try to describe the atmosphere, the colours, the
flavours and the sounds of the cities. So every
piece is a homage to a specific city in the world
and every piece is like a short film where I am trying to take the public musically.
I recorded seven cities for this Cities CD but we
have done more and the project is still ongoing.
At the beginning of 2014 a Collector’s Edition of
this Cities CD was released, only in vinyl and with
a new mastering. I also recorded a new piece as a
bonus track, which is Ulan
Bator in Mongolia, composed by
the French composer, Mathias
Duplessy. He has played with
many Mongolian musicians. He
composes a lot of music for
films, so he has a cinematographic style of writing and I
really like that.

“every piece is a
homage to a
specific city in
the world and
every piece is like
a short film
where I am trying
to take the public
musically.”

It must be quite a different
atmosphere.
Yes, of course I like to play in big
concert halls where everyone knows about the
music that I play, like the Carnegie Hall in New
York, which is a fantastic experience or in the
Tchaikovsky Concert Hall in Moscow, but then I
also like the contrast of playing one night at Hong
Kong Opera for example, where people are very
into classical music and the day after, in a place
like Cambodia where people don’t know much
about guitar. I like that contrast; I like to touch different audiences in different ways. It’s like when
you meet people, you are still yourself but you
adapt a little bit your way of talking to the people
you meet, and I am really doing this in performance. My playing can be very influenced by the
hall, by the audience, by the crowd. I really try to
make the concert an interactive experience. When
you go to look at a painting, the painting is complete and the people stand to look at it but there is
nothing happening – you are seeing a great oeuvre
which is already done. But my mentality for a concert, I think, must not be like that. I try to make it
interactive, that there is an exchange, so the player can be influenced by the audience, by the
acoustic of the hall, by many things.
Before you recorded your all-Scarlatti CD for Sony,
you had made a recording called Cities?
It was a very special project; I was and I am still
really into it. During my ten years of travelling I
12

Who has composed the other
pieces on the Cities CD?
For the city of Buenos Aires, I
did some arrangements of
Milonga del Angel and Muerte
del Angel by Piazzolla. Then for the city of
Bordeaux, my hometown in France, my father
composed a unique piece.
Your father is a composer!
Yes, Philippe Cauvin and he was my first teacher.
I started to play guitar with him from a very early
age. He is so much in love with music, he is just
playing all day long; he is like a psycho-guitar
player – he never stops working. So when I was
very young, I was immersed in this strong musical atmosphere: all his friends and the friends of
the family are also musicians, coming mostly
from jazz and modern styles. And I started learning with him, in this crazy atmosphere, thinking
that all the children of the world were also playing guitar, all taught by their fathers, like learning to walk or to talk. So everything up to now
happened quite naturally. I studied at the conservatoires in France, then came the competitions, the ‘endless’ tour, the collaboration with
Sony, ...
I am still very close to my father, for example,
he was the artistic director of my Scarlatti recording and for my new Albéniz recording also. To go
back to the Cities project, he composed the piece
Guitar City for Bordeaux. There is the city of
Kolkata in India with a piece Raga du Soir, written by a friend of mine, Sébastien Vachez; for
Classical Guitar Magazine