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Ana Vidovic comes from the small town of Karlovac near Zagreb, Croatia. She started �����������������������������ϐ�������������������������������ϐ�����������������������Ǥ��������age of eleven, she was performing interna-tionally, and at thirteen became the youngest student to attend the prestigious National Mu-sical Academy in Zagreb, where she studied with Professor Istvan Romer. Ana’s reputation in Europe led to an invitation to study with Manuel Barrueco at the Peabody Conservato-ry, where she graduated in 2005.
Ana is an extraordinary talent with formidable gifts taking her place amongst the elite musi-cians of the world today. Ms. Vidovic has given over one thousand public performances since ϐ�������������������������ͳͻͺͺǤ����������������-al performance career includes recitals in New York, London, Paris, Vienna, Salzburg, Rome, Budapest, Warsaw, Tel Aviv, Oslo, Copenhagen, Toronto, Baltimore, San Francisco, Houston, Austin, Dallas, Saint Louis and beyond.
Ms. Vidovic has won an impressive number of prizes and international competitions, includ-����ϐ�������������������������������������������-tional Competition in Bath, England, the Fer-nando Sor competition in Rome, Italy, and the Francisco Tarrega competition in Benicasim, Spain. Other top prizes include the Eurovision Competition for Young Artists, Mauro Giuliani competition in Italy, Printemps de la Guitare in Belgium, and the Young Concert Artists Inter-national Auditions in New York.
I’ve been watching several of your videos. I’m so impressed by your talent and skill. It’s very inspiring.
Oh, thank you so much. I appreciate that.
I understand that you began playing at a very early age.
���Ǥ� ��������������ϐ�������������Ǥ� �����������older brothers who are musicians. One is a great guitarist. His name is Viktor. Watching him play when I was a child inspired me. He is the reason that I started playing the guitar. I probably would not have played if not for him.
He must be very proud of you.
Well, we’re proud of each other. Victor is do-ing well too. He is a fabulous guitarist and he’s always been an inspiration to me. Sometimes we play in a duo. He is a composer and singer as well.
Does he live in Croatia?
Yes, he lives in Croatia.
How often do you get back to see your fam-ily?
I was just there for Christmas and New Years. I always go for the holidays and in the summer. I go twice a year, for sure. Sometimes when �ǯ�������������������ǡ��ǯ���ϐ����������������������see them. Once you’re in Europe, everything is very close. I really appreciate the time that we have together.
I looked up your hometown Karlovac, and it’s very beautiful.
Yes, it’s wonderful. So you looked at some pic-tures?
Oh, yeah. I saw many pictures. I like that many of the building have red clay roofs.
Uh-huh.
I also read that it’s referred to as “The City of Parks” and “The Town of Four Rivers.”
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Yes! You’re absolutely right. Wow, so you did some research. It a really beautiful place like you said. There is a lot of nature, and we do have many parks. People tend to walk a lot and ride bicycles. We have four rivers, as you said. In the summer most of the people go to the rivers to swim. It’s just beautiful. The town is pretty small. It seems like everybody knows each other, so when you walk down the street, people greet you and say hello and how are you? It is very nice. I have many wonderful memories of my childhood. It’s a very peaceful and quiet town. I like to go there to get away from everything. It’s kind of an oasis.
I’m sure you have moments of really miss-ing your hometown.
I always miss it and probably always will. It’s so strange because I’ve been here in the states for about twenty years now. I love it here, but I still miss home. You never forget your home. It’s always part of you.
I understand that your father was also a guitarist. Please tell me about him.
Sure. My father played the electric guitar and he liked all kinds of different music, rock, pop, jazz and blues. I remember growing up that there was always music in our house. He appreciated classical guitar very much, al-though he never played it. Probably our love for music came from him because my broth-ers and I are all musicians. For many years he played in bands, and they traveled a lot throughout Europe. Once he had a family, he stopped traveling and playing, but then his kids took over. If you have music in your family, I think there is a good chance you will start playing yourself. It was kind of natural for me to start playing. I owe a lot to my dad. He has given us so much support throughout our lives.
I can relate to this because my grandfather was a violinist and instrument maker, and my father was a guitarist and singer.
Yeah, it’s a generational thing. My brother’s son is now playing. I hope it keeps going through the generations.
You could certainly do worse things with your time.
(laughter) That’s for sure!
As a teenager, it may have kept me out of jail.
Your right! Music takes your mind away from all kinds of things that could get you in trouble with.
I think having a goal, dedication, and pas-sion teaches discipline.
That’s absolutely a big part of it because noth-ing comes overnight. You have to work at the craft.
I believe in an earlier interview that you mentioned that hard work is possibly more important than talent.
That’s true. From what I’ve seen over the years, I can say for sure that talent is not enough. There are so many talented players, especially today. The guitar has evolved so much over the years, but you have to work at it. It takes a lot of patience and dedication.
We are living in a time that people want ev-erything to happen quickly.
It does seem that way, but we grew up in a time that we knew whatever you choose to do in your life; you would have to work hard.
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We were raised that way, but it was a different time.
To be a concert level artist requires ongo-ing discipline and training.
Yes, it’s ongoing if you set certain standards for yourself. You have to decide if that’s what you are going to do. If you want to do it, your efforts will never stop. The audience only sees ���� ϐ����� �������ǡ� ���� ����� �������� �������that is a lot of work. You’re a musician. You know how much work it takes.
And just think when people watch you play, they think, “She makes it looks so easy.”
(laughter) Yeah, that’s the way it is. You have to work towards that. The listener should only ���������ϐ������������Ǥ�
You obviously love music and playing, and that helps carry musicians through all the challenges and hard work.
Yes. If I didn’t love it, I would have given it up ���������������Ǥ��������������ϐ����������������ups and downs, but I keep going. It’s because I love it. Sometimes when I take a break for a few days or go on holiday, I miss it. There seems to be a special connection now; it’s just part of me. I can’t live without it. I don’t know if it’s the urge to learn and become a better musician, but it’s something that is always driving me.
I remember a time when it was hard for me to go out the door without my guitar.
(laughter) Yeah! I can understand that. It feels strange to be away from it.
Please tell me about your time studying with Istvan Romer.
I started studying with Istvan when I was about eight years old. He was my brother’s teacher. I studied with him for a long time, ten years. Un-til I graduated from the academy when I was about eighteen years old. I’ll have to say, that it was the most important time for me. He led me through what is a crucial time for a young player. I owe my teacher a lot. Now looking back, I realize what a great teacher he was. He was training a kid who had just started playing. It was such an important time in my develop-����Ǥ��������������������ǡ����������ǡ�ϐ���������technical ability and then later, we worked on musicality, analyzing the music, dynamics and sound. So by the time I was eighteen, I have to say that I was trained well. He’s a great teacher and still teaches at the academy.
I listened to some of his early recordings on YouTube. He is a great player.
Yes. Istvan was very active at the time. He went to a lot of competitions and was a very experi-enced player. He knew what needed to be de-veloped in his students.
The guitar is very popular in Croatia. There is a deep-rooted tradition that comes from many generations before. It’s a great place to be to study classical guitar. I was fortunate to be born in that part of the world where the guitar was so strong and still is.
Your notoriety must be inspiring others and reinforcing that tradition.
Well, I hope so but it’s not just me. There are many players from that part of the world that are continuing that tradition by training and inspiring the next generation, it’s wonderful.
Just tell them not to play better!
(laughter!) That’s funny.
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Were you eighteen or nineteen when you came to the United States to study with Manuel Barrueco?
I was around twenty. After I graduated, I just didn’t know where to go, but I knew that I wanted to come to the United States. I’ve al-ways been intrigued by the United States and wanted to experience the culture. I knew that Manuel was teaching at Peabody, so I sent him a tape. I auditioned at other schools as well in New York and San Francisco. One day, I got a call from Manuel himself and he invited me to study with him. It was fantastic news. I didn’t take it lightly because it was a big decision. It meant I would be leaving my family and my home. I had never been away from home much in my life. When I came, I didn’t expect to stay, but it has turned into twenty years. So I guess it was meant to be.
So you’re still mulling it over after twenty years.
(laughter) Yes! I’m still thinking about it. It’s amazing; I can’t believe it has been twenty years. It seems like yesterday.
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It does. I’m happy I stayed because if I had gone back to Croatia, I would not have had the same opportunities that I’ve had in the U.S. This is a great country.
You must have gone through a lot of adjust-ments coming to a new country.
Yes. There was a lot of adjustment for me. I would say that I was basically in shock. I’m sure that I’m still adjusting to some things.
Let’s talk in another ten years and see how you’ve adjusted.
Yes, we’ll talk in another ten years. (laughter)
Going back to what I said in the beginning, it’s just that your home is always part of you. I’ll always have Croatia in my heart.
I think being a student made adjusting to be-ing in a new country a little easier because I was around other students who were going through the same thing. It’s kind of lonely, but, you learn the language, and you try to learn the difference in the culture. The United States is my home now and I love it, but I’ll always be Croatian.
By the time you were studying with Manuel Barrueco, you were a virtuoso. Please de-scribe your typical lesson.
Well, this was part of the adjustment because Peabody is a different type of school than what I was used to. In Croatia, my lessons were frequent, but my lessons were infrequent with Manuel because he was traveling a lot. I would only have a few lessons per semes-ter. So I worked on my own. I did work some with another teacher at the school named Ray Chester. I don’t remember how many lessons I would have had with Manuel each semester, but in the end, it was a good thing because I had time to prepare well for the next lesson. We worked mostly on the musical part of my playing. I was young and when you’re young, you’re focused on technique. I hadn’t worked much on musicality at that point. Manuel was very helpful in bringing that side of my playing out. He inspired me and he often challenged me to become a better musician. Manuel made me think about different aspects of my play-ing. I remember my previous teacher had told these same things to me, but I understood them better at this point. The advice that your teachers give you can continue to inspire you. I’ll never forget.
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Well, a twenty-year-old does not have the ����� ����� ����������� ��� ��ϐ����� ����� ������music as a thirty or forty year old. Would you agree?
Oh, absolutely! I’m glad you mentioned this because that’s a huge part of it. We go through all sorts of life experiences and emotions, so ������ϐ�������������������������������������Ǥ�These things bring so much to our playing. But there is another aspect to it because we have to be able to bring that to the listener. You have to be honest and be who you are on stage.
Whatever the style of music, honesty can-not be hidden. The technique is important, of course, but there are, for example, Del-ta blues musicians with crude techniques who express powerful emotion.
That’s true and it’s something that’s there, or it’s not. The technique is not always the most important thing. I think honesty and musicali-ty are much more important. People can sense if you’re honest. We cannot always be who we are in our daily life. That’s just part of life, but when you’re playing music, you can be one hundred percent honest and it’s a beautiful feeling.
You have won several international guitar competitions. Winning can boost a mu-sician’s career, but I’d like to hear your thoughts on competitions and your experi-ences with them.
In Europe, students start going to competi-tions when they are very young. My teacher ��������������������������ϐ��������������������about thirteen or fourteen. He thought it was important that I do this for various reasons. It was not just to win but also to learn and ��������������������Ǥ� ����������������ϐ�����Ǥ�I learned so much from these competitions.
The most important thing was to learn. It’s im-portant not to take things personally. You have ������������������� ��������� ϐ�����������������the jury. It doesn’t mean you’re not good if you ���ǯ�����������������ϐ�����Ǥ�������������������-ue to work and develop yourself as a musician. Winning was very nice but growing as a mu-sician was the most important thing. I still re-member my teacher saying, “Even if you win, you still have to go back home. Keep your feet on the ground and keep working.” It doesn’t mean you are the best. It just means that the judges liked you. If I were to advise any young people, it would be just to keep working.
Basically, you’re saying; if you win a compe-tition, don’t let it go to your head.
(Laughter) That’s exactly what I’m saying!There are many competitions. It’s great for students, but there is also a lot of talent out there today, more than ever, I think. It’s going ��������������ϐ��������������������������������talented young guitarists. I don’t think the gui-tar has ever been at such a high level. You see all these young kids with this great talent, and ��ǯ������������������ǡ��������������������ϐ�����Ǥ��������������ϐ�������������ǡ�������ǯ����������Ǥ
I guess you know that you’re going to make me go practice today.
(Laughter) Okay, but not too much. Do you get to practice every day?
Yes, but I think I may have a bad habit of getting obsessed with whatever I’m work-ing on. The next thing I know, I’m out of time, and that’s all I’ve done.
That’s not necessarily a bad thing. I think it’s a good thing that you can focus on one thing at a time. It’s a challenge for a lot of people, so that’s a good thing for you.
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I know that every day is different, but can you describe what would be your typical practice routine?
It depends on what I’m doing at the moment. Such as whether I’m learning a new program or if I’m keeping the old program ready. I try to do both because let say I have a concert in two weeks. I obviously have to work on that program for that concert. I always start with scales, and that’s something I’ve done for many years. It’s very important for your hands and to just warm up your body for the actual practicing. I never start with colds hands by going right into the piece. I just don’t think it’s a good idea. I’ll do scales for about twenty to thirty minutes at a very slow tempo until I can do them faster. I make sure that my hands are in condition and that it’s all there. I alternate index and middle. Then I’ll do my middle and �����ϐ����������������������������������ϐ������Ǥ�I always start very slowly, and then towards
the end, when my hands are warmed up, I’ll start playing them faster. I also make sure ev-erything is in order with the left hand. Even af-ter all these years of playing, I always have to keep a check on things.
It’s like a wheel alignment on your car.
Absolutely! You always have to make sure you are doing things correctly. I then go into the pieces. I usually have a plan for that day to work on a particular piece. I’m kind of like you in that I can’t focus on too many things at once, so I’ll choose one piece for that day. I work on the areas that may be giving me a hard time or are just not polished enough. I rarely play the whole piece because I don’t feel like it helps anything. I’d rather just practice sections. I just pick a section that I am having problems with, whether it musical or technical. I’ll go over it many times and usually very slowly. I rarely practice in tempo. I do use a metronome
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a lot. As I said, while learning a new piece, I also try to review my older pieces. Maybe in the morning, I’ll review the older pieces and in the afternoon, I’ll work on the new piece. Learning new music is a very slow process for me. It’s just something that takes a lot of time. I rarely play a new piece on stage unless I’m two hundred percent ready. It takes me a long time to prepare for that. When I’m away from the guitar, don’t have time, or I’m working on memorization, I visualize. I don’t usually mem-orize by repeating. I just put the guitar away and visualize the music.
I’m always trying to know harmony better ���������������������� ���� ϐ����������Ǥ� �ǯ���wondered at times why I’m holding the gui-��������� ������������ ���� ϐ����������� �����the same result if not better than moving ���ϐ������ǡ��������������������������-ry. Of course, muscle memory can be a dou-ble-edged sword.
It’s good that you do that. It’s very helpful. We ����� �������� ���� ϐ��������������������ǡ� ����you are right that muscle memory is import-ant, but it can be kind of dangerous if it be-comes just muscle memory.
Muscle memory can be like a backstabbing friend.
(laughter) Yeah, that’s true. You’re right!
I want to go back and ask you more about your scale practice. I assume you practice both rest and free stroke scales?
Yes, I do both. There comes a time when play-ing a piece that you have to decide on where to use free stroke and where to use rest stroke. I take a lot of time thinking about where I should play what. I used to not do this, but that’s not good.
I seem to want to start scales with my in-����ϐ�����Ǥ���ǯ����������ϐ��������������������������������������ϐ�����Ǥ��������������������������� ϐ������ ����� �������� ������������ ����you, or do you favor one or the other?
That’s a good question, interesting. Thinking ������������ǡ������������������ǯ�������������ϐ��-ger. I don’t know why. It used to be the index ϐ�����ǡ�����������ǯ����������������������Ǥ�������ǡ�it just depends on the situation. It can vary a lot.
String crossing is the real challenge, isn’t it?
Yes. It’s challenging. I think it’s one of the most ���ϐ������������������Ǥ
A friend of mine named Sylvain Courtney, who is a jazz player, uses free stroke alter-nation of index and middle. Then when he has a string crossing, he repeats the index ϐ������ ������ �� ������ ����� ������� �������� ����������������������������ϐ����������������-er string.
That’s interesting. It’s great that he has devel-oped his own technique. Each of us needs to do this. Of course, there are some rules that we ��������������ǡ����������������ϐ����������������way of doing things. What it feels like to us is crucial.
The technique is kind of like a classical ver-sion of sweep picking. Not that you need it. I thought I’d just throw that out there.
Experimenting and learning from all these great players is important. There is not just one side of the guitar. Sometimes classical players think only of classical, but there are so many other styles. I think it’s good to learn from different styles.
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I think sometimes we’re told, “You’re not supposed to do that.” So, for the rest of our life, we don’t question it. Sometimes we should stop and think, “Well, why not?”
Absolutely! If trying something doesn’t hurt you, why not?
I’ll share a funny story with you. As a teen-ager, my dad said. “Why don’t you use your ������ ϐ�����ǫdz� ��� ��� �������� ������ǡ� ��said,” It’s just not used.” He replied, “Why not? It’s there.”
(laughter) It’s there, he’s right! Why not use it?
The jazz guitarist Lenny Breau used his pinky.
����ϐ�������������������������Ǥ
Do you also practice arpeggios?
Not so much. I did it when I was younger and went through all the exercises that I had to practice each day. Now I only play scales to warm up.
Are they scale fragments out of pieces, or are they scales?
They’re just scales. They’re simple three-oc-tave scales in C and G major.
If you’re playing three-octave scales, you have to shift.
Yes, that’s part of the exercise. I make sure that it’s a very smooth shift and that I prepare my hand. It’s kind of like practicing all the aspects that you would have in a piece but within a scale. You can’t focus on things as well when ���������������Ǥ����� ������ ��� ������� ������ϐ����version of a piece.
���� ϐ����������ǯ������� �����������������-tween a scale and a piece of music.
That’s right. It’s just a reminder to pay atten-tion to the technical things that need to take place.
Do you have any thoughts you can share on building speed?
The metronome is very helpful, but speed is not about only how fast one plays. It has a lot to do with articulation and clarity. It took me a long time to learn this, but the tempo is not as important as playing slower, cleaner, and ar-ticulate. Everybody is different, so the tempo should be adjusted to whatever feels comfort-able. The key is to play clean. It doesn’t need to be the fastest tempo. When building speed, it helps to practice very, very slow. It’s impossi-ble to play fast if one doesn’t play slow. It takes a long time; it’s not something that happens overnight.
Basically, you’re saying to play fast one must play slow and very clean to build good habits, correct?
Yes! It’s impossible to play fast if you don’t have all your ducks in a row technically. The speed will come eventually, but I wouldn’t say naturally. After many years I still feel like I have to work at it. Even if I have played a piece for a long time, I still have to go back and redo the scales and work on consistency. It always reminds me never to rely on my natural ability that it never works. If we rely on our natural ability, it’s not the same quality. It takes a lot of work.
When I watch you play a virtuosic section, you never seem uncomfortable. You seem to be relaxed. That’s something I see in the greatest players in the world.
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Well, I might feel a bit uncomfortable inside. It’s impossible always to be relaxed. Sometimes I feel a little nervous, but you have to stay calm and reassure the audience that you are in con-trol. I mean, it’s my job to present the piece to the audience and make sure it comes out.
When particular sections are coming up, do you ever feel anxious?
When I’m on stage, I don’t think about any-thing. If you start thinking about things, you get in trouble, and I would be in a lot of trou-ble! (laughter) I relax because the work has been done and I’m prepared before I walk on stage. You have to think when you are practic-ing but not so much when you are playing. You have done the work, and now you have to play.
I noticed that when you play tremolo, you use a pattern of (p, m, i, m). Is that correct?
Yes, that’s correct. I’ve done this since I was very young. It’s not the proper way, but it just works for me. (p, a, m, i) never worked as well for me. Tremolo is very tricky, so I think you should use whatever works for you. (p, a, m, i) doesn’t work for everyone. It’s not as natu-����������������Ǥ����������ϐ����������������������������ϐ�����Ǥ
I guess the rebel of the left hand is our �������ϐ�����Ǥ�������������������������������-tion with the synchronization of it with the right hand.
I think the challenge in general with the clas-sical guitar is synchronizing well because it is such an unnatural thing. At least on the pi-ano, your hands are in the same basic posi-tion, but with the guitar they’re not, it’s much ��������ϐ�����Ǥ������ǯ�������������������ǡ�����we have to train that part of our brain to be able to synchronize well.
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I do not hear the subject talked about much.
Sometimes we take synchronization for grant-ed because we think it’s all there, but if you think about it, it’s not. We still have to work on it. It’s not something that comes naturally.
Some people have better synchronization ����������������������������ǡ����������ϐ������in everything they play.
That’s true.
When I watch you play, it’s so graceful, yet powerful. The rhythms are well placed, the melody is always clear and it’s musical. I guess in short; I’m saying that you make it look easy.
Well, thank you. I wish it were easier. I think we all do.
In an earlier interview, you said that you had an interest in playing popular and some jazz pieces. I also heard you play an arrangement of “Yesterday,” which was beautiful.
��� ����Ǥ� ����ǯ�� �� ����� ������������ ��� �Û���Takemitsu. I love his arrangements. I’d like to do more popular pieces. It’s kind of a way to bring in a new audience to the classical guitar.
Playing popular pieces does not take away from your stature as a classical artist.
You’re right. It doesn’t take away anything. It’s about the quality of the work and the player.
Do you have any advice you can share with our readers?
Just to work very hard and not give up. You’re not going to love practicing each day but love your instrument every day. There will be times when you want to give up but keep going.
http://www.anavidovic.com
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