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Even though I’m not a big fan of the Smallman sound, somehow Williams makes it sound regal. There is something magical about the sound there! I also like the sound on John Williams’ “The Great Paraguayan” album.
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I really like the sound on Florian Larousse’s Laureate Naxos album. Īre there any recordings that you consider have the finest recorded sound for guitar?
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I’m also happy about a recent YouTube video recording I did of Bach’s famous Toccata and Fugue, BWV 565 arranged by Edson Lopes and recorded by Drew Henderson in a beautiful church in Toronto.
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The performance tracks from the DVD have been compiled and released as a separate album. The latter is an educational DVD first, made possible through a collaboration with Diego De Oro, owner of De Oro Music Publications. I am actually most proud of two of my latest releases: my album “Copla”, an all-Spanish repertoire recording, and my “Harb Plays Carcassi Studies” recording and educational DVD. If you have recordings, which recording/s are you most proud of? Classical solo recordings by Julian Bream, John Williams, Andrés Segovia, David Oistrakh, Glenn Gould, Hélèn Grimaud, Daniel Barenboim, Amandine Beyer, Itzhak Perlman, Nathan Milstein, Jascha Heifitz, Josef Hassid, Nigel Kennedy, Kazuhito Yamashita, Janine Jansen and Paco de Lucia come to mind at this moment. Those two musicians have left a lasting impact on my musical character on the whole, I would say.Today I cherish recordings by many great artists. What an incredible feeling! That same feeling was experienced at a high level of intensity later in my life, when I was listening to Itzhak Perlman, playing Bach’s Sonatas and Partitas on violin while I commuted to work, training to be a Mutual Funds Advisor, which prompted me then to pursue music as a full-time profession. The discovery of “goose bumps” even, happened first as I remember from his playing on those cassettes. The lyricism in his solos on their records was an incredible ear-opening experience for me. Which guitarists/musicians have had the most influence on you?
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What guitar or guitars do you perform on? Strings?Ĭurrently I’m performing on a Douglass Scott, 2018 spruce top guitar and on a Martin Blackwell, 2019 double cedar top.I use Savarez CR 540 strings mainly, and I also like the La Bella 2001 and Argento series normal tension basses. I also enjoy playing the blues quite a bit. What repertoire do you enjoy playing the most?īaroque, Latin American and Spanish repertoire. Basically I left the violin twice for the guitar! I write “restarted” because I actually picked up theviolin at 6, for 2 years until I was 8, then I received an electric guitar as a Christmas gift from my mother, and all hell broke loose LOL! Anyways, what drew me to the guitar in general at first was Slash, the guitarist from the LA rock band Guns N’ Roses.What drew me to the classical guitar was the classical/jazz guitarist Roddy Elias, who happened to be my composition teacher during my undergraduate violin degree at Concordia University. It started at 26 years of age, having restarted my violin training 2 years prior, at age 24. With the classical guitar, my story is a bit unusual. When did you start playing and why? Or, what drew you to the guitar initially? Always polished, always musical, Tariq’s playing has been praised on many stages across the world and he’s been lauded as “Canada’s next classical guitar superstar” by CBC Radio’s NEXT! Fortunately, Tariq had time to spend sharing some of his journey with Six String Journal readers. Tariq Harb, an acclaimed Jordanian-Canadian guitar virtuoso, is arguably one of the finest young guitarists to emerge on the scene these last years.