The Art of the 16-string Guitar III

2015.02.01.

In 1981, in Debrecen, Hungary, I saw Egberto Gismonti playing a 10-string guitar, and I felt that this concert was a sign pointing me toward my new direction. The tonal possibilities of multi-string guitars set my imagination on fire, and I committed to playing guitars with more strings than the standard 6-string. I started with a 10-string classical guitar, and later moved on to a 16-string guitar.

At that time, I was not interested in transcribing known pieces for the 16-string guitar; instead, I wanted to compose and create something new and unique. I began composing exclusively for the 16-string guitar, which brought me success and recognition abroad. (“in abroad” corrected to “abroad”)

I had a clear concept of how to use the 16-string guitar: to extend the polyphony of the instrument and discover its hidden possibilities. This was only achievable by shaping the instrument to fit the music I imagined. My aim was to explore the untapped potential of the 16-string guitar and express the deeper realms of mood and emotion.

In 2004, the album The Art of the 16-string Guitar I was released, followed by The Art of the 16-string Guitar II in 2006. After these releases, I introduced the 16-string guitar’s music at various guitar and jazz festivals in countries such as Belgium, Germany, Italy, Japan, Norway, and the USA.

In 2015, the third album, The Art of the 16-string Guitar III, was released. Compared to the first two albums, this release marked an advancement in many ways. I used nylon strings with a special string setup, new interval-based tunings, and a refined picking technique.

My 16-string guitars were built by the highly talented master luthier Tihamér Romanek. Drawing on his experience in lute-making, he crafted extended-range 16-string guitars for me in an innovative way, resulting in a unique sound. In these albums, I seek to express my admiration for his craftsmanship.

The pieces on this album were born from pure intuition. I allowed the music to flow from its source, free from external influences and trends. Early in my career, I was influenced by Oriental and European classical music, as well as folk and jazz. These influences formed a filter within my musical being, shaping my creative process in moments of inspiration and making my music deeply personal.