Artist Profile: Rafael Aguirre

By: Dr. Matt Warnock

Born in Malaga in 1984, Spanish guitarist Rafael Aguirre began his musical studies at age of seven, later graduating with the highest marks possible from the Malaga Conservatory. By his sixteenth birthday, Aguirre had already made his orchestral debut, performing the “Concierto de Aranjuez” with the Malaga Youth Philharmonic Orchestra, on a tour that included several cities across Spain and Morocco.

During the course of his education, Aguirre’s remarkable talents have allowed the young guitarist to participate in master-classes with world class classical-guitarists such as Manuel Barrueco, Leo Brouwer and David Russell.

An accomplished performer, Aguirre has also racked up an extremely impressive list of first prizes at international guitar competitions.

Competitions Wins

• First Prize at the 5th National Competition “America Martinez”
• First Prize at the 3rd International Competition “Jose Tomas”
• First Prize at the 2nd International Competition “Amigos de la guitarra“
• First Prize at the 14th International Competition “Emilio Pujol“
• First Prize at the “Schmolz-Bickenbach” Competition
• First Prize and public prize at the 3rd International Competition “Norba Caesarina”
• First Prize at the 8th International Competition “Julian Arcas”
• First Prize at the 36th International Competition “Fernando Sor”
• First prize and Public prize at the 41st International Competition “Francisco Tarrega”
• First Prize at the 17th International Competition “Jacinto e Inocencio Guerrero”
• First Prize at the 10th Alhambra Competition
• First Prize at the 18th Koblenz International Guitar Competition

Building on his competition wins, and success as an internationally recognized concert guitarist, Aguire has also recorded three albums for NAXOS, RTVE música and Radio Clasica RNE (Spanish National Radio). These critically acclaimed recordings showcase Aguirre’s meticulous musicianship in which technical mastery serves his artistic purposes.

Aguirre currently resides in the German city of Düsseldorf, where he recently accepted an adjunct faculty position at the Robert Schumann Hochschule. The same institution that he studied at, and graduated with honors from, under the guidance of Cuban guitarist and pedagogue Joaquin Clerch.

Photo Credit: Jo Schwartz

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Matt Warnock: You’ve recorded an album for Naxos titled Guitar Recital, does your approach to tone and interpretation differ between the studio and the stage?

Rafael Aguirre: At the stage, you don t hear the sound as it is, because you sit very far from the guitar, so what you hear is a result of the hall´s acoustics. That’s why for a recording session, you need to be much more precise and careful about avoiding crispy sounds and extreme phrasing. Because of this, I tend to get a very fragile and clear sound in order to highlight every voice and color possible.

Musically speaking, I always aim for the same quality in the recording session as in the concert hall. I feel much freer in a concert in a way. I just enjoy myself without over analyzing the results. The analysis is done at home while preparing. I prepare myself to make music on stage so the things that ultimately happen on stage need to be fresh.

This is why it’ss so difficult to be spontaneous during a recording, because I’m looking for every note and musical detail, and the spontaneity and magic disappears at that moment. But, I always try my best to catch the moment of magic that every piece possesses.

Matt: You’ve participated in many master-classes over the years with some of the world’s top classical guitarists. Do you feel that this process, mentoring in a master-class with a veteran player, is an important aspect in a young player’s development?

Rafael: It’s always important to hear other´s opinion, and if you feel inspired after a lesson this is the best outcome, because without that any further development it’s impossible to move forward by yourself.

But, I’d like to say that even more importantly than playing for guitarists are the daily masterclasses I receive by the great musicians I hear in concert and recordings. Recently, I’ve learned a lot from Simon Rattlle and the Berlin Philharmonic in a concert that I attended in Salzburg. Also from Daniel Barenboim while playing the first Beehoven concerto after the fall of the Berlin Wall, which I watched at home. As well, from Andras Schiff at the piano, while attending a concert of him in Essen, Germany and from a salsa band in Costa Rica, while eating some good fish during my recent tour.

Rafael Aguirre in Rehearsal

Matt: You’ve also studied in a conservatory, do you feel that form study in an institution such as a conservatory or university is mandatory in today’s musical climate, or can a player develop a performing career without going through an institution?

Rafael: I think it’s important to learn as much as you can, but I’ve learned a lot from the advice of other musicians, not only from the academics. I think there are good musicians even playing on the street. But today, you need to go to a conservatory just to meet all the people and to be recognized as a musician by society. However, the most important thing is what you say on stage with your instrument.

Matt: You’re playing Carnegie hall this year, do you feel any extra pressure for that performance, and do you feel that playing Carnegie hall is a rite of passage for any young performer?

Rafael: I feel the same pressure as for any other concert, because I want every concert to be better than the last one. By that I mean that I feel more fulfilled by the music that I did on stage.

I’m very excited to play in a hall where every major artist has played, and I’m looking forward to seeing what it feels like being on such a stage with that audience, those acoustics and that architecture which that looks so brilliant.

Matt: After winning and placing in so many international competitions, do you think that up and coming guitarists need to win competitions to prove that they can make it on the international stage?

Rafael: Again, just like conservatories, I think our contemporary method of gaining credibility from audiences and concert organizers is to win some competitions. But of course it’s up to each artist to find their own path to transcend, competitions being one of them. It is just a matter of being convincing with your own musical ideas.