YouSaid · the spoken record

Ana Vidović

lines on the record: 54
first: 2022-01-12
most recent: 2022-01-12
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“Two main places are my website and then YouTube, you know, if they would like to hear me live, there's a lot of performances on YouTube and my schedule is on my website and if they would like to hear it live, that's where everything is posted. So those are the two most important places where all the information comes from then, you know, of course I'd love to see the audience back in the halls. That's a great, great feeling. So we hope we have more. And of course, with, you know, restrictions and being very careful at this time. But I'd like to see the audience back in the halls, definitely”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“Christmas is gone. They are taking a little break because the last concert was in December 4th. So usually during the holidays we have a break, so just getting ready for the new year's and next year, you know, everything starts again. So I'm gonna have to prepare for my concerts and for my tour, start practicing very, very focused work and have a nice lineup of concerts that I look forward to. And I very much was excited to be back on the road, you know, and to perform because I really, really missed it during these two years. I think every artist missed it. So that's coming up next year. And I'm trying not to make any long-term plans because it's just impossible to do that right now. You know, I'm taking every day or month at a time and see what happens. So speaking of recordings, you know, I would like to release a new recording in the next year or so. Hopefully that will happen. But the main goal is, you know, just keep performing and touring if it's possible. We'll see what happens next year. And if the”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“To keep going, but I think that came kind of in my teenage years when I said, okay, I'm doing this. I'm probably going to do this for the rest of my life. So whatever comes, I'm going to have to deal with it, you know? So, yeah. But I think for everybody, it's different, you know, but for me personally, it was that way. I had to really like consciously make a decision.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“I think there were a few. I think, yeah, there was definitely a point where I decided okay, I know this is going to be difficult, but I have to continue. That's all I know. I mean, my whole life, that's the only thing I know. You know, I never really had a chance to do anything else in my life. So, you know, of course I love it. It's great to have music in your life, but you have to make a commitment. You know, you can't just say, oh, I'll see what happens. You know, it's a commitment because it's a difficult profession. Like I said before, there's no guarantee. Sometimes you won't make it, you know, sometimes you'll work hard and then nothing happens. And there were times like that when I thought, you know, nothing's happening. Am I doing something wrong? But you keep going. You know, you keep going and I never really looked back. There were difficult times, but I guess I made a decision. Okay, I have to do this. You know, there is no other way I will do this and take necessary steps. And the perseverance is a very important part of what we do.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, perhaps many things together. I think there is something about that. Yes, I think there were times when I wasn't sure if this is something what I want to do. I think, you know, growing up and starting very young is difficult because you're always looked at someone talented and then there's a danger that you won't develop your talent to the full extent. You know, sometimes the term child prodigy is not always true. You have to kind of outgrow that. You have to still develop your talent. Talent is not enough. I'm fully convinced it's not enough. You have to work hard throughout your whole life to develop whatever you were given. Yes, if you have a little bit of natural talent, of course, it's helpful, but you have to work at it, you know. So I think from your 20s and further, you have to work hard. I mean, you have to find ways to always develop your natural ability. It's something that never really stops.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“I think it has changed already a little bit. I think we just have to be careful not to have too much of it in our life. I think sometimes I find myself even personally like, you know, looking for videos and watching.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“I do, but we have a lot of beautiful music, many, many beautiful artists and it's a long tradition of classical guitar in Croatia. Long, long tradition. So I know many, many guitarists come from that part of the world. I'm proud of that.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“I think so, I think, coming from that part of the world, I think a certain way of you perform and you play music. I mean, yeah, there's not perhaps one, you know, major composer, but it's just the culture that I was brought up with. And even though I lived in the States for 20 years, I still have that in me, you know. So perhaps I perform music in that way. It's just natural. It's just who I am. So I think it's more that just coming from a certain culture, you know, studying and learning about the music the way I was taught. And it was a very, I don't want to call it rigid, but it's a negative word. But, you know, we were taught from a very early age to work hard. You know, I was taught in the right way. I had great teachers. So all that kind of shaped me who I am, you know, and to be serious about what I do, you know, and to be completely focused on it. So I think perhaps all this comes through a little bit, you know, through my music and what”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, oh great. You know about her. You did some research. No, yeah, I do love pop music. Yes. Oh, Croatian music. Yes. Like Oliver Gojewicz. I love him. He's a beautiful singer with probably the most Croatian hits ever. And when I feel a little nostalgic, I'll listen to Croatian music. Severina, yes, she's very famous. And, you know, so there's many, many other musicians. They're all great, you know, because I come from that part of the world. It also means a lot to me.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“I think not just him, you know, but everybody that is trying to create something, I learned from that. I don't know, it gives me inspiration. There's other examples, of course, but it just makes me think in a wider way, more interesting way, you know, if I was just listening to classical musical day, my mind would be just kind of restricted, you know. I don't know anything, anything. There's so much great music out there, you know. And sometimes I hear something in the background and then I think, oh, you know, maybe I should apply that into what I do because it opens up your horizons. Maybe it's just my imagination, but I think you just play differently. So you have to surround yourself with a lot of music, you know, classical music is not the only type. There's many, many, many other music. So yeah, so that's just one example. You know, I listened to it. Then I listened to it again. I think, you know, what is he doing? Why is he doing that? And it just gives me inspiration.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“There was a time when I listened to him a lot because I really appreciate that he loves Bach's music and you can tell in his playing, you know, sometimes it's just, I think it's fascinating. He's actually someone that I would like to collaborate. I mean, it might never happen, but it's just interesting to me, you know, because perhaps we share this same love for boss music and it would be interesting to collaborate with someone like that. So yes, I do learn. I do get a lot from people like that. You know, it's interesting because electric guitar and classical guitar are completely different. So you would think like, okay, is there anything common? But yes, there are. There are things you can apply in your own play. So absolutely. I mean, I learn a lot from these people. Yeah.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“There's Blenny, of course. My dad comes first. I listen to Stevie Ray Vaughn. I listen to Jose Triani, Stevai, many others. Mom steam, I mean, it's just, I love like electric guitar.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“As much about that in a conservatory setting. And then again, when you graduate, you're kind of on your own. So you have to learn from your own mistakes. That would be helpful, I think, for, you know, every young student that would like to pursue a performance career.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“I wouldn't necessarily change anything. I mean, you know, we have some great places in the States, wonderful guitar departments with great teacher and, you know, many, many young students come from there. And the guitar in the States is very strong. Also in Europe, I wouldn't change. The only thing I would, it would be helpful. Once you graduate, it's kind of difficult because you're on your own. You have to find your way, you know, so at least for me personally was like that. So I had to find ways to decide what I'm going to do, either have a teaching career or a performing career. So it would be nice to have a little bit of help that way after you graduate. Another thing that is important is that in a conservatory setting, we don't learn so much about what needs to be done in a life-performing setting, how to deal with your nerves, how to relax, you know, all those things are important. So I think we don't talk.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“Develop my own way of playing. So I hope, you know, that, you know, young students still find a way to develop their own way of playing. It's very important. Because at the times of, you know, Segovian Breem, it was a different time. They had to develop their own way, you know, define their own way. It was just a different time that they were living it.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“One way to play guitar with competitions they're important part of building a career, but there's a little bit of danger with that because in a competition setting, it's not a concert setting. It's a competition. So all these young artists, perhaps they feel like they have to play in a certain way, you know, to win the first prize. So as long as that doesn't interfere with what you still want to accomplish and what you still want to develop, it's okay, you know, so you just have to be careful for the competitions not to be a part of your life. It's not everything. The first prize is, of course, great, but it doesn't mean always that you're the best, you know, so the individuality of the performer is very important. For me personally, you know, I stopped doing competitions very early for that reason because I didn't want to just be someone who will, I don't know, go to competitions. I wanted to.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“It might be. I think when you listen to Segovia, even if somebody else puts it for you and it wasn't you, you just know when you hear it. And when you hear Breem, you just know it's Bream. When you hear Williams, you know it's Williams. So perhaps that is a little bit lost today. I don't want to be a judge, but I think it's important for each of us to find, you know, something unique about our way of playing. And all these things that we talked about, studying about the score, about the background, about the artist, about the composer, all these things are important.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“In Asia, they don't really feel comfortable doing that, but they're also very attentive. And I think more of it is just depends where you play, you know, so which country in which culture”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, I mean, in the States people are just as beautiful. I mean, at the end of the concert, everybody's happy, you know, you can feel that, you know, I love that feeling.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“Hm, that's a good question. Well, it's interesting in the past two years. I've noticed a change, you know, when I went back to playing live after a while after, you know, the pandemic started. I feel more appreciation. I feel that there are kind of hungry for live performances. I feel that they listen more attentively. I feel that, I don't know, it just feels different. So this is just in the past few years. I wouldn't say that they changed. What is interesting is that depends where you're performing. You know, every culture is different. So if you're performing in Europe, the audiences are usually very serious and very quiet and they listen very, very carefully. And in the States, you know, they're also, of course, very appreciative. But after the performance, they either stand up and they're very responsive. They appreciate as an artist, it's very special to feel that attention after the performance.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“Time that is spent doing that, and then you just make a decision either you will play without the amplification or with the implication. But, you know, it has to be natural.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I know when the guitar doesn't project well, guitar is a very soft instrument, even though my guitar is a bit louder than the regular. It's just the way it was built, the wood that it was chosen, and the technique of building, so it's a bit louder, it projects very well. For guitar, the ideal hall is about 500 seats, and that's already pushing it, you know. So when you have a hall that is a thousand, you have to use amplification. I mean, it's impossible to play with amplification. We have some beautiful systems today where you don't even know that the guitar is amplified. So I have no problem using an amplification. As long as it's natural. But of course, for guitar is the best to hear it without amplification, the most natural sound, you know, which is up to like 500 seats. So we have rehearsals before the performance. We try out the hall. There's always somebody listening in the audience. So there's a lot of”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“To do something just because I want to sell a lot of records, it's not what I want to do, you know, it's just not my personal choice. I want to do what feels right, you know, and what I give to my listeners, you know, I cannot do something that's off the charts, even though it would be fun, maybe, in the future.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, I mean, there's some really good crossover albums. Yeah. I mean, if I would do something I thought often just playing with like a, you know, rock guitarist or, I mean, it's something that to merge those worlds would be interesting. You know, maybe collaborate with, I don't know, there's so many great, you know, electric guitar players. I think it would be interesting to merge those to word classical and electric. So that's perhaps something that will come in the future. But one has to be careful with a crossover. I think that was perhaps more popular, you know, a few years back. This was a kind of a new term that came, you know, crossover music. And then everybody was doing a lot of that. But perhaps now it's not as popular as it used to be. So because there's a lot of crossover recording. So you also have to be careful to do something interesting, something different. You know, there's that aspect to consider. But I still have to do what I feel most comfortable.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“Never my priority also because honestly, I don't really, you know, enjoy the recording in a studio that much. Again, I prefer to be live in front of the audience. There's nothing quite like it. But I mean, no, I'm not saying no to the recording completely, of course. It's just, I think we just live in a different time, you know, when the videos are perhaps more appealing to the listeners, you know, because classical guitars also like to watch the hands. They like to see what the right hand is doing with the left hand is doing. So, you know, I think the visual and the audio is equally important, you know, so.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“I think over the years, I find it that people like to see and to hear. Of course, YouTube is amazing. I mean, you know, everything is on there. So I remember 2005 was the year that I played one of my first concerts in the States, you know, and that's where kind of the YouTube was just starting out. And they put up that video on YouTube. And it's amazing what happens since then. So I'll focus on live performing. I'll just go out there. I'll maybe release one video a year because I still want the people to come to the concerts, come to the live performance. I don't want them to just be at home and look at the video. So I still want to have that connection with my live audience. So maybe, you know, it's not good to do too much, you know, not to have too many videos, not to have too many recordings because you still want the audience to come and see you in person. You have to find the way to balance that. But, you know, recording with...”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“Present yourself to the listeners, but you still have to be successful performing live in front of people. So most of my performances online are live. They're not pre-recorded.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“That's a very good question. You know, when I started, the world looked very, very different. So the world has changed. I think today everything is online. You know, it wasn't like that when I started and when my, you know, some of my colleagues started. Today, they really have to, actually all of us, we have to learn how to present ourselves online. And there's many, many different aspects of that world. So from my own experience, you know, I always wanted to have a touring career, you know, so I focused on that. You know, I didn't focus so much on recording. I just wanted to be out there and perform as much as I can. So I did that, you know, and then, you know, the YouTube came and I had to find a way how to present myself online. I don't do too many online performances. I do a few because I still want to continue to perform and tour and play live for the audience, you know, because there's nothing that compares to that. You know, online is great.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I think number one is to make the student feel comfortable because a master class setting is a very nerve-wrecking setting. I know from my own experience when I used to play in front of artists in school, you know, I always felt nervous. So I try to, you know, just put them at ease so that they can learn and register what I'm saying more easily. And you can just see the difference. I mean, and I also like for them to ask me questions, either technical or musical. And the message that I want to convey to them has to be very, very clear. So I try to be as clear as possible. Usually a masterclass lesson is about 30 minutes. So you don't have a lot of time. So you have to try to give them as much information as you can in that short amount of time. Which is not easy. So you try to connect with them in those 30 minutes as much as you can. But I think number one is to just make them feel comfortable.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“I usually do if I play at university, I'll do a class with a local student or a local university. I do love it. And I wish I could dedicate a little more time to that. I think I've learned a lot from just teaching. It's amazing. You know, sometimes when you have to explain something to a student, you learn automatically yourself.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“Again, there is really no guarantees in this industry. Sometimes you have to work for many, many years to get to a certain point where you feel comfortable performing in front of the audience. And so I think it's just everybody's different. You know, you just have to find your way to navigate through this maze.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“I think you kind of sense when someone has something special. In the past I've judged competitions. And I guess because it's my life and I do it since I was five, I just know when I see someone that has something special. Of course, there's always an aspect of a natural talent, but some people are just more prone to being talented for music, you know, or for a certain instrument. But a lot of it is also the commitment, the perseverance. That's a very, very important part. If somebody wants to be a professional artist or professional musician, I mean, even if they're not, you know, as talented, they can still find a way to make it work. So I think working hard, having a good working habit and making sure they're very disciplined is important. So I don't know how, but I just know when I see, you know, that natural technical ability and somebody that plays with ease.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“And perform for the audience because the audience will sense that. And again, many, many years of experience. You know, it's learning and sometimes, yeah, mistakes will happen. But you have to relax and just keep going. Find your way in the music. That's where the memory comes in. Your memory has to be very secure because naturally we get nervous when we are in front of the audience, you know, and it's a completely different feeling. So I have to say 90% comes from your mind. So your mind has to be very relaxed.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“Part is not done well, then I will, of course, feel nervous. And when I sit on the stage, I will feel insecure. So I have to be 200% well prepared. So when I practice, you know, I go through sections. I already know, you know, which parts of the piece are giving me trouble, and then I don't feel secure enough with. And then I make sure that I practice them very well until they're 20, 30, 40 times as much as it takes. So when the preparation part is over, then you are ready to go and present the piece to the audience. So I never really play something that I'm not fully secure with. And then, you know, when your stage, like I said, your mind has to be very, very relaxed. You cannot worry that something will happen because psychologically it will happen. If you constantly worry about making a mistake, the mistake will happen. So you have to find a way to ease your mind before you go on stage.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“It's also a combination of things when I practice at home. I'm allowed to make mistakes and because nobody can hear me, I'm alone in my room. So obviously when I'm on stage, I cannot afford that to happen. So I have to find a way to make that not happen. For me, number one is the preparation. You know, the preparation for the concert many, many weeks in advance, many months, many years. Actually, I think it's your whole life that you're preparing. It's not just a week before or two weeks before. So all the years leading up to this, I've learned things, you know, I made mistakes. I did some things wrong, but you learn from it and then you don't do it the next time. So yes, the number one is good preparation, finding the repertoire that fits you that you connect with that allows you to be honest, you know, to be true to who you are. And then you automatically feel more comfortable. And then, you know, if the preparation”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“So, you know, for example, when you perform live, your mind has to be very, very relaxed because if your mind is constantly worrying that creates a lot of tension in your hands, in your shoulders, in your back, so everything has to come together. But again, that's something that takes many years of experience. So learning how to, as we talked about, efficiently practicing, how to relax on stage. But, you know, there is a way to preserve that over the years. And I think as you age, there is a different quality. You mature. Music starts sounding different, more mature. So it's a good question.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“It's all of those things together. I think, of course, as we age, you know, there's physical limitations. Our mind decreases as well. But you can be careful and be vigilant about that. And for example, our body, of course, cannot sustain seven or eight hours of continued practice. I mean, it's just too much. There's injuries that happen. So people have to be very, very careful. You also have to make sure that you posture is correct, you know, your back is straight and your shoulders are relaxed, your hands should be relaxed. So that's a very big part of it. You know, our body decreases as we age. So we have to find a way to compensate that. Also, you know, our mind is a very, very important part. Actually, I think it's more important than the physical because everything comes from your mind. If your mind is relaxed, if your mind knows what it's doing, then everything else will kind of fall into place.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“I just had a conversation with a friend of mine about that how the amount of hours are actually not important as much as the quality of the practice. So as a child, I used to practice many, many hours because I didn't know, you know, I didn't find the way you kind of experiment over the years. So at this age, I finally learned that it's more about concrete work, you know, focused work, working on things that give you trouble, either if it's technical or musical. And then you practice in sections that takes less time. You practice very slowly before playing fast. And then you put it all together. But it just takes a lot of years to get to a point where you kind of know what you need to work on. Two or three hours of focused practice is more efficient than, you know, seven or eight hours because sometimes there is a danger of just playing the piece through and not really working on sections and things that we”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“You just see everything much clearer. I think it's good to do that before you actually start learning the piece. What I just started doing recently is just, you know, look at the score, look at the notes, write things down. And maybe I'm just a visual person that kind of understands music more that way. And then when I actually pick up the guitar and play it on the instrument, again, it's a different quality, you know, because you understand more where all the ups and downs are and how the music moves. And it's a very important part of studying the score. And even visualizing the music and memorizing it that way without the actual instrument is important as well. So it makes you learn the piece in a more secure way. And again, you know, it's a very, very important part of what we do. And studying the score is important.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“And learning about all the aspects of the peace, you know, like I said, the background is very, very important. And then, you know, the music that you play comes out differently. You know, it's a different quality when you actually know what the composer was intending to do.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, I mean, you know, whenever you choose a repertoire or piece that you like to play, I think it's important you have to study and learn about the composer and what they were trying to do. And a part of it that I think we still struggle as guitarist is analyzing the music is very, very important. Looking at the score, you know, understanding what is going on. I think pianist violence cellists are taught to do that from very, very early age. We as classical leaders don't fully understand that yet. So I think that's a very, very important part. Also, learning about the composer, learning about the history, when they lived, why they composed in a certain way. So going into the background is very, very important. So I think as classical guitars, we still have to learn how to do that. So it's an important part. Guitar is a very interesting instrument. And I think sometimes we just want to sit and play and not so much go into the depth of the actual piece.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“Because I do love beatles, I think everyone loves beetles, of course, and there's some beautiful songs. Of course, yesterday was one of my favorites. I played that piece, that song arranged by Torotakimitsu. He arranged a book of, you know, different songs, not just by Beatles, but other artists as well. But I chose that one. There's another one here, there, and everywhere. I'm not so skilled in that regard. So I try to do it, but I leave it to the people that actually know how to transcribe well. And like I said before, the arrangement part is very, very important. So if the arrangement is bad, obviously it's not going to sound so good. So I would rather leave that to someone that, you know, actually knows how to do it. But I experimented a little bit with that.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“Why not? I mean, yeah, I guess it's a personal choice. You know, like I said, many of them experiment with alternate things. But for me personally, I think six strings are enough, you know? So I try to stay within that limit.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“I mean, there are certain musicians that experiment with that, but I think as a classical guitarist, this is what we do. We usually stay in standard tuning, so there's not many alterations, you know. But for me, it's very inspirational to listen to other styles of music, jazz, blues, even country, you know. So I learned from that. It's my inspiration to listen to not just classical music, but other styles of music, you know, but there are certain standards in classical guitar, and we must follow that.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“The level where you want it to be. So also musically, you know, dynamically, we obviously don't want to sound like a pianist, but we have to apply that into our own instrument and what we do.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“We have to be careful, of course, guitar is every other instrument has technical limitations. So whenever you play something, and again, we're all human, so we have to try something that was composed for piano. It's very difficult to play on classical guitar, no matter how well you arrange it. Of course, you still want to sound natural. You still want to sound good. So obviously Amashita is an amazing guitarist, you know, so he can play anything he would like to play. When you choose the repertoire, you have to be very, very careful. You have to be mindful of your own limitations and what you're capable of. So for me personally, I'm very, very careful. I want something that I play to sound good technically and musically. So yes, there are limitations, but I think it's everybody's choice. It's a personal choice what you would like to play. Goldberg variations are very, very difficult. You know, it takes many, many years to get it to.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I mean, you know, like I said, I listened to a lot of Bach, Scarlari, Beethoven, Rachmaninov. I wish all of them composed for classical guitar. Vivaldi, you know, so, I mean, we're lucky to have arrangements, but sometimes I wish that, you know, we had more repertoire to choose from, you know, for classical guitarists is difficult. So we have to rely on arrangers that arranged all these beautiful pieces for us, you know, so.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“He did so many things. I think he was the, I don't want to say the first or the only one. You know, there's so many great artists, so many classical guitarists that brought classical guitar to where it is now. So they're all equally important. But I think Segovia is just at the highest level. I don't think classical guitar would be here in this level and recognized by so many people if there wasn't Segovia. So we owe actually a lot to him and to repertoire through the level of performing, technique. I think he still stays one of the most recognized classical guitarists of all time. So he always will be. For me personally, he was an idol. You know, it was something that I aspire to be. And I grew up listening to his recordings and many, many other artists. We grew up with him.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“Think so, you know. There's many, many pieces, beautiful pieces for guitar composed by composers that didn't actually play the instrument, but I think they understood it very, very well. Or they perhaps worked with the classical guitarists. Segovia was very important in our classical guitar world. He brought many, many composers, a lot of music for classical guitar. So he was a catalyst for classical guitar. Concerto de Juuez by Rodrigo is one of the most famous pieces for guitar and orchestra. Personally, for me, the piece that represents guitar completely, you know, the technical aspect, the musical aspect. So yes, it's possible. It's possible to do so. Yeah.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source
“It's an amazing piece. It's a fabulous piece, very, very difficult technically, musically. I mean, you have to work very hard to make it sound, you know, beautiful. That is probably one of the most difficult pieces in guitar repertoire. So it's a challenge, I think, for every guitarist. I myself have been working on it for many, many years. I still don't feel comfortable playing it, but it's a very, very challenging piece. Yeah.”
2022-01-12 · Conversations with Tyler · Ana Vidović on Prodigies, Performance, and Perseverance · IDENTIFIED FROM THE TRANSCRIPT · source