Difono Greek Magazine, July-August 2008 issue.
Questioner: Liana Malandrenioti
Interviewee: Dimitris Kotronakis
(Translated by 3d-code.gr, Original language: Greek)
-Your relationship with the musical instrument started from early childhood. Do you come from a family of musicians?
I did not grow up in a family of musicians, even though my mother used to play the accordion. However, it is my parents I should thank for the initiative to get me involved with music, as well as for their constant support and understanding throughout my entire strenuous course as a guitar student.
-From your early steps, until the end of your studies with the awarding of the guitar diploma, you were blessed with very good teachers. Who was the teacher who played a decisive role for your orientation?†
Vasilis Kanaras was the teacher I happened to start
and complete my studies with. I think that, to a significant degree, he shaped
my artistic personality too. I owe him way too muchÖ Of course, during my
studies there have been other influences as well, such as the one of the
soloist Kostas Kotsiolis and of the guitar festival of
-What is a musician with your qualifications faced with, the moment he decides to enter the professional arena?
There are generally many difficulties, while in
There is a general crisis, too. There are now many artists who enter the same professional arena. The standards are quite higher than they used to be two or three decades ago.
-We talked about the difficulties of the
job, what about the consolidation of a guitar diploma in
It is not consolidated at all. To the State, it is an
unclassified Degree; it does not have the glamour of University degrees and is
not considered equivalent to Higher or
-Your doctorate thesis in Musicology is about Greek guitar Composers of the 20th century. Would you like to talk to us about this?
The whole idea started as an effort to discover and
study the history of guitar in
-In your exceptionally selected repertory of guitar compositions, I also noticed the participation of the Bosnian composer Vojislav Ivanovic.
Ivanovic, holder of a Greek citizenship for many years now, is a particularly important composer, and not only because of his guitar compositions. He deserves to achieve recognition and to make his name in Greece too, because he is already very popular abroad, mainly in the countries of former Yugoslavia.
-Your last album was released from CLEAR NOTE, a foreign record company. How did that happen?
It happened simply because in
-On stage, you are almost always alone. What is the difference between listening to a soloist artist and listening to a small chamber music group, or an orchestra?
The role played by a soloist recalls in memory an equilibrist, a tight-rope walker; the point is that a soloist's performance on scene also incorporates some sense of risk. A soloist has to risk, so to speak; he has to execute a piece, which may be pushing the limits of his sentimental and technical capacities. His role is different from the role played by an orchestra or by a chamber music ensemble. A group seldom risks. It simply executes predefined movements, just aiming at exactitude; in this very case, the maximum possible synchronization is the bet. But a soloist is something else. He executes pieces having great technical demands and almost presupposing intense rushes. This is exactly the magic of a solo performance, risk and challenge. Whenever I didn't risk, my conduct towards the public was, I consider, not fair.