So, we have a guest today. Special treat, former Yale College student and now a graduate student at the Yale School of Music, and more importantly, my good friend, Soloman Silber, classical guitarist extraordinaire. So please join me in welcoming Solomon Silber. Solomon, thanks for joining us. I know-. >> Wonderful to be here. >> [LAUGH] I know Solomon reasonably well. And, and I'd always been impressed by the fact that he's had a rather unusual career as a clacal, classical musician. He started out as a student in classical music at Yale College, and then his life took a somewhat unexpected turn. So tell- >> It did. >> Us a little about that please. >> Yes. Absolutely. Well, I grew up on the instrument, as a young man, since I was quite young. Started at, at five actually. >> On the classical guitar. >> On the classical guitar studying, yes. >> Mm-hm. >> All through my teenage years and as you said, entered the college here, and then decided to pursue production, music production and Rock and Roll music, and >> So, you must have been doing Rock and Roll though, when you, I mean, I can't imagine being a teenager in those years and not doing Rock and Roll. >> Sure, yes. [CROSSTALK] The Marshall amps had a calling you know, indeed. >> [LAUGH]. >> And, my parents' old LP's that I discovered. >> Uh-huh. >> And, decided to, to kind of chase that, that sound-. >> Uh-huh. >> And, and that technique. >> Uh-huh. >> And, the ability to write songs, and then, and to sing and to produce which, which was fantastic. And and especially, on my return to the classical instrument, I, I really felt that a lot of those production skills helped me assess the music in, in a different sense and became quite comfortable with recording technology as well. Which is very important for classical musicians. >> But, you mentioned your return, so- >> Yes. >> We have, we have to set this up because there you are, as a young man, 18 years old. >> Right. >> Presumably, Yale College. >> Yes. >> You're going to pursue a career in classical music and what happened? >> I actually had an injury to my hand. It was during a sculpture course and I cut the-. >> A sculpture course? >> Yes indeed and I-. >> [LAUGH] >> I cut some, tendons, but it [INAUDIBLE] >> Wow. They were mended up, yes. So, so, after the during the rehab of the process of my hand when I wasn't able to do the complex techniques of, of classical music. I, I really sort of came again to the calling of Rock and Roll. And, I left school and, and, went to Manhattan, found a producer, this sort of typical pursuit of, of Rock and Roll. >> Yeah. >> Greatness out there in the stars, and it, it was a, a fantastic experience. Learned a lot toured pretty extensively and, and-. >> But then, you decided to come back to your university education-. >> Yes. >> At Yale and continue with pick that up again. >> Yes, indeed. I, I felt, you know, for some years that although the Rock and Roll music was, you know, I was great. >> Uh-huh. >> And then, close to my heart that I, that I did miss the, the expression. >> Uh-huh. >> And, and the sounds and, and the timbres of the classical guitar. >> You, you found sal, found salvation in classical music there. >> Indeed. >> There you have it. So, we've got a piece, the Spanish exotic Spanish repertoire that we're going to share with you today. And, as we all know, Spain and the guitar are intimately linked indeed, the guitar originated in, in Spain, and outgrowth of the int, all of the Islamic interest in the lute, I'm, I'm sure. And, it originated in Spain in the 16th century, and of course, we've got that long flam, flamenco dance tradition behind this as well. And, we may be hearing a little bit of that sound with Soloman's performance a little bit later on. The pair, piece we're going to listen to is by Juan Francisco Torreya. And, he is just one of, of several Spanish composers who were active during the period of the French Impressionist. We've got Enrique Granados, Isaac Condenes, Manuel DeFeya and, of course, Francisco Tárrega. So, let, let's talk about this piece just-. >> Yes. >> For a, a moment or so. It's called Recuerdos de la Alhambra Remembrances of the Alhambra. I've never been to the Alhambra. I never got that far [LAUGH] south, not that far south in, in Spain. But, I'm wondering if maybe as a teaser here. And, we heard a little bit of, of this at the beginning of our segment. Play just a little bit, and we're going to begin to think about this as music and as emotional experience here. So, what, what do we, the listener, our listening audience, our listeners, are listening friends here. What do we think of this piece, what do we feel about the music that Solomon is about to begin to share with us? So, play a little bit if you would please. [MUSIC] So, maybe we will pause it there. We going to hear, don't, don't despair. We're going to hear entire piece Little bit later on. So, that I will be surprised if there is anybody out there. And recently I asked a Yale class, many, many tens of students in it. How many of you [NOISE] didn't like this particular business, particular sound? And, not one person in the room raised his or her hand. And the, and I, I think we all love it. Then, the question becomes, well, why? Why do we love it? And, thinking about this just a, a little bit, a couple of things immediately come to mind. First of all, look at look, it's not like we went to central casting here to get Sullivan, right? >> I appreciate that. >> Right? Right, rather than spanish the, the dark spanish tradition of Manet. So, and the instrument, it's, it, not only. [CROSSTALK] Very classy guy. >> Jose Ramirez. >> From 70, built in Madrid. >> Yes, indeed, and I've been playing this instrument since I was a little child. It's a wonderful instrument, the older, this is sort of, of, of that time period-. >> Mm-hm. >> That was really classic for the shop. And and you can actually, I wonder if they can see in there, the Jose Ramirez stamp and the 1970 date. >> Wow. >> And actually, inside it was stamped by the particular man who built this guitar-. >> Mm-hm. >> From, from scratch. >> Yeah. >> One luthier con, completed this whole process. >> So, it's pa, I mean, the instrument itself is. Is actually physically from, from Spain. And there, we, we've got some wonderful melodic lines here. I particularly love that descending melodic sequence. We've got some harm, strong harmonic pulls from time to time. [MUSIC] That sort of sequence in there as well. And then we have a few other things. The most important, I suppose, the thing we're picking up that makes it sound exotic, is that tremolo business. Which is very specific to the Spanish tradition, and comes out as I understand it, the Flamingo tradition. So, how do you do that, can you demonstrate what's going on here? >> Absolutely. So, what, what the idea, first of all, the guitar has two hands, obviously, that's playing it. The right hand is in control of all of these all of these textural >> Mm-hm. >> Techniques. So, this particular one, flamenco, involves the thumb or P [SOUND] hitting these bass notes. >> Mm-hm. [MUSIC] >> Cool. >> While the upper fingers ring, middle and index AMI do the repeated pattern on the higher note. So, you get this alternation of the bass plucking and then the higher fingers doing the A repeated so you end up. I'll do it slowly so that >> But you're playing another, and it's not just the A, it's the, there's an E below it? >> Oh, when I said A I, excuse me, the A is the is the name for the ring finger in the classical repertoire, so >> Oh, okay >> I have ring, middle index, >> Ring middle index. >> Huh. [MUSIC] And, that repeated pattern obviously has something you are going to have to start slow clean. And then eventually, you build up the. >> [LAUGH] So, you must have to practice this very slowly. >> A couple hours. >> Do you every get carpal tunnel syndrome? >> Well, you try to relax and then, take some breaks, some stretching. But, it's, it's very important, posture and as you know, to, to, to maintain the. The, the tension from the back and, and the scapula must be sort of pulling on the instrument. >> Uh-huh. >> But also, relaxed. Shoulders down, back straight. >> Oh. And, it's always good to work out a little bit around the edges. >> Really? [LAUGH] Hey, that applies for all professions. >> Indeed it does. >> So I think what we'd like to do now is perhaps go ahead and hear this entire piece. The piece itself is rather straightforward in terms of its structure. We have a lovely triple meter. It's kind of slow grace. So, I think it adds to, to the relaxed quality of it-. >> Just rhyme. >> Two, three, one, two, three, one, two, oh who doesn't like that. There's, triple meter is always more relaxing than duple meter. So, we ha, have that and we have a pleasing here, as well. We've got the exotic quality of the Flamenco tremolo sound in there, but at the same time, we have a rather regular pattern of a minor statement of a thematic idea, a slightly different major statement. And, back to the minor, then back again to the major. And what else do have? Well, it's all organized in bars of 16, units of 16 bar aggregates. So, that's rather traditional. We've been dealing with that in classical music from the beginning of our course. And then finally, we should say just a word about what's going on in the Coda, because that's kind of cool. Is this piece fundamentally in major or is it in minor? >> Mm. >> And in that coda, he's tweaking that, that, that cool third. [MUSIC] [SOUND] So, there's the [INAUDIBLE], the sixth to the, back down to the fifth. [SOUND] [MUSIC] And then, we get. And then, we get at one point the minor third coming at maybe. Ba di di di di. Ba di da. Is it going to be major or is going to be minor? [MUSIC] So, we'll see, we'll see what key this ends up in. Is it major or minor? Okay? Solomon Silver playing Remembrances of the Alhambra. [MUSIC] [APPLAUSE] Wonderful. And, thank you so much for wonderful artistry. So, if you'd like to hear more great music by Solomon Silber. Here's what you do. He's got a website. So, get out there and support this talented young man. It'll be a win for Solomon and, more importantly, it'll be a win for all of us. Solomon, again, thanks so much. >> Much appreciated. Wonderful to be here.