How To Succeed in Classical Music: Part II: Sharon Isbin

Guitarist Sharon Isbin in the 2014 Festival Opening Concert for Philadelphia Classical Guitar Society

Even though I’d heard of guitarist Sharon Isbin for years, mainly because of my guitar aficionado husband’s CD collection, I did not hear her live until a few weeks ago. No doubt because of those album covers, I assumed that she was flashy, but maybe not so deep. I was surprised, therefore, when attending the Philadelphia Classical Guitar Society’s festival opening concert, to see a diminutive, serious woman with ramrod straight posture take the stage. She was wearing a plain outfit and flat shoes. Her hair was definitely not salon blow-dried. She held her guitar horizontally when acknowledging the audience, in the European manner. Regal, yes, flashy, no.

There are many parallels between solo guitar playing and solo piano playing. Both instruments can go it alone without need for an accompanist, as both instruments are able to supply the essential elements of music on their own: melody, harmony, rhythm. And although many performers are getting away from the practice, solo guitarists and pianists traditionally perform from memory, which ramps up concert preparation time ten-fold. Sharon Isbin played her entire lengthy program from memory.

Her phrasing, tone color and structural interpretation were interesting from start to finish, in repertoire that ranged from Albeniz and Britten to contemporary work written for her. At the end of her program, the audience immediately rose as one, understanding that we had heard a masterful concert from a performer in total control of her instrument.

At the next morning’s masterclass, she sat onstage beside each student, intently observing. Often, the masterclass format can be a platform for a famous teacher to hold court, to enjoy the limelight, to draw attention and entertain. This was not the case with Ms.Isbin. Her comments were practical and serious. She explained the details of her approach to right hand and left hand fingering as it applied to each piece. She gave advice on how to memorize (away from the instrument, mentally, sitting in a chiar, at slow speed, then up to tempo.) How to avoid injury by using correct grip and hand position.

She said, “A lot of this is explained in my Classical Guitar Answer Book. I still have 4 copies with me. They are twenty dollars each. Raise your hand if you want one, and you can pay me after class.”

Many more than 4 hands shot up around the room.

This little interlude spoke volumes. Besides talent, hard work, and sharp intelligence, this is what created Isbin’s international career. This is what caused the Juilliard School many years ago to create a guitar department with her at the helm. This is what convinces famous rock musicians to collaborate with her, and what inspires composers to write new work for her. Whatever else is in play, Isbin is always looking for new ways to express herself, to teach, to perform, to be noticed in a major arena. She takes herself seriously and she does not apologize for it.

What a message this is for women, for aspiring artists, for any musician who wants to make his or her mark in this world.