What a pleasure to speak to guitar hero Scott Tennant about playing and teaching Bach. We talked about his early days with the instrument, how he became a nylon pumper, and how strange it is that most of us guitarists love the Spanish classics alongside the adaptations of the German master.

Here are the albums mentioned in the podcast:

John Williams, El Diablo Suelto,Guitar Music of Venezuela: Apple Music; Spotify.

Andrew York, Apple Music: Yamour Spotify: Yamour.

David Russell, Apple Music: Music of Barrios Spotify: Music of Barrios.

Scott Tennant, Apple Music: Scott Tennant Guitar Recital; Spotify: Scott Tennant on Spotify

Los Angeles Guitar Quartet, Apple Music: LAGQ Spotify: LAGQ

Links:

Scott Tennant: USC profile

A Year of Bach: yearofbach.substack.com

Evan Goldfine: evangoldfine.com

The brief clip of guitar when we talk about the first movement of the Lute Suite is from a live John Williams recording.

Transcript:

Evan Goldfine: Welcome to the podcast, A Year of Bach. My name is Evan Goldfine, and today I welcome Scott Tennant, one of the great classical guitar players and teachers of our era. Scott was a founding member of the Grammy Award-winning group, Los Angeles Guitar Quartet, and he’s currently the chair of the classical guitar program at USC’s Thornton School of Music. Scott, welcome.

Scott Tennant: Thanks for inviting me, Evan. Glad to be here.

Evan Goldfine: So let’s talk about Young Scott at the guitar. Were you drawn to Bach initially? Was it more like homework?

Scott Tennant: Oh boy. I was, yeah, it was Bach. It was mostly the guitar itself and the sound of it. I started taking lessons when I was six at a music store and, what drew me to classical music in general was, you know, in these books that I was, my weekly lessons were in, there were little snippets of Bach, Anna Magdalena Bach, the famous, you know, little minuets and musettes. And then there was Tchaikovsky and I thought, this music sounds really unique as opposed to like the more poppy kind of songs I was working on. And I asked my teacher what. I love this composer. I love that composer. And she said, oh, well, that’s called classical music. And so I started doing a deep dive and, I of course, I then found Bach and it turns out my parents were very involved in having my brother and I listened to a lot of music. My mom had been a musician in her youth. so we were always listening to every kind of music. And we had, you know, remember the records. The LPs

Evan Goldfine: Sure

Scott Tennant: had a lot of those. That’s probably where I first heard Bach, and then I got this crazy record. By the then Walter Carlos, who became Wendy Carlos,

Evan Goldfine: Switched on Bach,

Scott Tennant: on a Moog synthesizer. And that blew me away. I heard the Bach Brandenburg Third Brandenburg, and that’s the first time I really, that’s the first time I heard any of the Brandenburgs on a Moog synthesizer.

Evan Goldfine: Very strange.

Scott Tennant: You know, and it just proves that Bach is very user friendly. You can play his music on pretty much anything.

Evan Goldfine: Yeah.

Scott Tennant: And his music is so versatile and so anyway, yeah, I became a fan and slowly learned about Bach as I went on

Evan Goldfine: Any special recordings besides switched on Bach from the seventies in those early years.

Scott Tennant: Let’s see. We had orchestral recordings. They were mostly these LPs that had a combination of different composers and I can’t, I know the Chicago Symphony was one.

Evan Goldfine: Mm-hmm.

Scott Tennant: I don’t know, maybe it was Solti or who was conducting at the time. but they were orchestral, renditions and. yeah, my first, Bach listening experience was with orchestra, and frankly, they were kind of orchestral arrangements, I think, of, the famous, you know, the air and the G-string and

Evan Goldfine: Sure.

Scott Tennant: Those kinds of things. But, I didn’t really start diving into Bach until I started taking classical guitar lessons when I was 11. Then of course it was just like Bach. And I just started discovering, just going crazy, discovering all of this, the Bach that I could play. And then it was a, it was just a. Race track from there. Learn all the Bach. I could.

Evan Goldfine: Was it Segovia? Was it Bream? Were these things you were listening to as references or were you just going by reading through it and hearing what it was, underneath your fingers and what your teacher was helping you with?

Scott Tennant: Well, it was my first actual Bach album was John Williams playing all of the lute suites.

Evan Goldfine: Yes.

Scott Tennant: And that, of course, John Williams, I was such a huge fan and still a huge fan of his and I wore the record out. I think my dad had to buy me a second LP of the same recording. It just blew me away. And I realized now a, as a kid, I started things. I was kind of strong-willed and my teacher would tell me, no, don’t play us too hard. You know, and so, but I would start things anyway. And I remember starting the fourth lute suite, right? There are four lute suites. As you probably know, and I started the fourth one, da. And so I remember just struggling through it and I thought, well, you know, I can play it just like John Williams if I just copy him. So I listened to it all the time trying to copy. I kind of figured his fingerings out, which, you know, for a 12-year-old wasn’t too bad. And, of course I can never play it like him. But, that was a start and long story longer. That’s the only box suite I’ve ever actually recorded myself. I played it for years and years in concert, and because of that I started it when I was too young and my teacher was right. I wasn’t ready. I had a hangup on that prelude of the suite, the first movement of the suite. All my life and, to this day. So I stopped because of that prelude. I actually stopped programming Bach because I had such hangups with it.

Evan Goldfine: Wait, what? What’s going on?

Scott Tennant: I had, you know, because I learned it when it was too hard for me, and I eventually worked it out and was able to play it and learn the whole suite and started programming it. In fact, a lot of times I would begin my program with it, because I thought the prelude made such a great opener. And it does.

Evan Goldfine: Yeah.

Scott Tennant: But, with all the nerves that go into performances anyway, and my, I should say maybe lack of confidence with that one movement I carried on for a while, for many years, and I just stopped programming that suite. And eventually, I just stopped programming Bach for a while just because I gave myself a hangup with Bach . It was so hard and I didn’t wanna mess up, I didn’t wanna make any mistakes with playing Bach because everybody loved Bach and everybody knew Bach the music. And so I just thought I’ll give it a rest.

Evan Goldfine: Huh? I know that recording, it’s from your Guitar Recital record from many years ago. Mm-hmm. And it’s excellent. I love that record. There’s a kind of brashness and youthful confidence and this real, meaty sound. I think it’s great. Especially in that prelude. There’s those moments where the time the downbeat seems to be playing around when it goes down to those two notes back and forth da da da.

Evan Goldfine: I came upon this organ piece. You know, there’s like 50 hours of organ music, and I suddenly heard the lute suite again. And I was like, that is strange and familiar. And I like it more on the guitar. I didn’t want all of the sustaining notes as much. I kind of liked the sound of the guitar. Once the note is plucked, it sort of goes away. And so you need to find the different ways to keep those strings and notes echoing or not, as your case of your interpretation might be. What about that moment that I’m talking about, that goes back and forth.

Scott Tennant: Right. I know the spot that it happens in the, a section and then later in another key very symmetrically. The version most guitarists play has some element of the solo violin version. Which really opened my ears to what the piece was really about. The organ, of course, the sinphonia which is an F major. But it might be because of the bowing where the note you think is the downbeat, you know? Forgive my singing, isn’t the downbeat, right? I think that’s what you’re talking about. So, yes. Then I played a version where I kind of reversed, I inverted the two notes, the upper one and the lower one so that the downbeat of that is actually a lower note. Here’s the thing when in guitar, you know, when you use your thumb for a, let’s say, da, when you’re using your thumb, let’s say, in a pattern like that

Evan Goldfine: mm-hmm.

Scott Tennant: whether you intend for the note with the thumb to be played out or not, it’s going to be accented a little bit.

Evan Goldfine: It’s gonna sound like a downbeat.

Scott Tennant: Yeah. And so I just stopped. I refingered it and I stopped playing that note with the thumb and it worked out perfectly. The thing about Bach is that it’s, everything’s so interchangeable in a way. Everything that I was learning from an early age was kind of Segovia centric. You know, Segovia arranged a lot of different pieces. Instead of playing whole suites, he divided up suites and published them and played them separately because, he was trying to promote the guitar at that time, and he wanted he was afraid, well, if my audience sits through a whole suite, you know, they could get turned off by it. You know, let’s just give him a little bit of everything. So I had that in my head as I learned I was learning guitar from an early age. And so everything was Segovia centered, the Chaccone, his arrangement of the Chaconne very famous and many of his other Bach pieces. So I had this thing, well, you have to add a lot of bass notes, right? To, You know, because he would reconfigure things and he would take a single line, like a violin and put a lot of base notes in. And so then there was this trend. Because of that, there was this trend later of, well, let’s get away from that. And everybody was playing pieces more or less in the original form, like the single line, even going back to the original key that worked, let’s say on violin, but, or maybe on cello, but maybe it didn’t work as well on guitar. So then I went through that phase and as a student, I arranged all of the Bach cell suites, wrote them down, by hand and have a notebook full of them of all the cello suites that I arranged, only adding a little, base notes sparingly because of that philosophy that I built up in my head. And so now. I’m completely turned around. I think Bach’s thing was adaptability. So if he had heard me playing a guitar with all these strings, playing a single line without adding anything, he would think I was crazy. He would say, what? What are you doing wasting all of these other notes you can be playing.

Evan Goldfine: There’s opportunity.

Scott Tennant: Yeah. And when I do arrange something, I don’t add much, but I do fill things out.

Evan Goldfine: Yeah. How is Segovia living with you today? It’s such an important musician for so many of us, and you’ve recorded an album of Segovia’s music, which is excellent. Probably your most recent release. How has that lived with you and how has his performances changed in your mind as you’ve, come into your own, throughout your career?

Scott Tennant: Segovia will have always have a particular throne in my pantheon of heroes. Because, you know, when I was young, he was probably the biggest influence and he influenced, I remember reading a quote that he mentioned about John Williams, so everybody, Parkening, Williams, everybody had the quote by Segovia. And so he was the king. And, the guitar has progressed a lot. And there are players that play in with different techniques now with different approaches to plucking and all that, and certainly different approaches to fingering. So there’s been all that happening over the decades, but I still hold him in very high esteem and I listened to him a lot and now it’s even more pleasurable to go back and listen to

Evan Goldfine: Yeah.

Scott Tennant: A Segovia recording and watch a concert.

Evan Goldfine: When I first started playing classical guitar, I loved the Spanish music. In the very beginning, just playing the root e minor chord and just strumming down. It’s like, what is this amazing big sound? All these different overtones coming through, and you felt it resonating against your body. So, that sound, the early Spanish music that I learned of Albeniz and Rodrigo and Tarrega, which, you’ve recorded and also Bach. I think that most classical guitar students, whether they’re in the beginning or they’re advanced, tend to like both the traditional Spanish music and Bach on the guitar, which is weird because those tastes don’t necessarily fit together on their own outside of the guitar. Do you agree with that take? What do you make of that? That we all love this music so much that’s so different from each other.

Scott Tennant: I agree with that. I know what you’re saying. There’s something about people who are drawn to the guitar. It’s a lot to do with the sound. A lot of them, first of all, do come from a electric guitar background, so most of the classic guitarists I know now have, started in rock in playing with the rock band in the garage or playing jazz or, I know a couple that even played come from playing country and they just, and they aspire to this sort of classical, it’s kind of this mountaintop that everybody wants to get to. So with the finger style and the sound you get from the nylon strings, it’s a very special type of instrumental style. And so I think anything, to fanatics like myself, I remember back when I was, that person you’re talking about, that young student. Everything sounded good on guitar. I just loved to listen to anything and, but it was amazing that Bach, specifically yeah, it was, I got just as much pleasure and thrill out of listening to Bach than I did listening to a really fiery Spanish like Rodrigo. Yeah. Wow. There was a discovery. And now that I’m a teacher, I’ve been for a long time and I see young students coming. There’s still that fascination with the sound of playing Bach on a guitar just like Albeniz or any other composer.

Evan Goldfine: Yeah.

Scott Tennant: You know.

Evan Goldfine: Yeah, I love the way that the instrument resonates against my body, it just feels more connected. I’ve been learning how to play piano again, I took a 35, 40 year break in the middle. I’m getting back to it and there’s something very important and tactile, but the instrument isn’t resonating against me. And I think you get that with the guitar especially and probably some of the bowed instruments people to get that feeling. And it can be a quite a warm sound as well as you can get some real volume out of it too. You can play beautifully soft, and beautifully when going, fortissimo as well. So there’s a huge range and I think people resonate with that. Too.

Scott Tennant: It is true. Yeah.

Evan Goldfine: Yeah.

Scott Tennant: Very true.

Evan Goldfine: So you’ve been a teacher for many years and one of the themes that I keep returning to in these interviews that I’ve been doing is sussing out what makes a great performance. And, you’ve been seeing these younger students kind of, put their own personal individual spins on all of these pieces that you’ve heard many times. How do you articulate what a good performance is?

Scott Tennant: Ultimately, when I’m hearing a performance, I wanna make sure I hear the performer as well as the composer. So, I know what Bach sounds like stylistically, and a lot of other composers, I know sometimes I know the actual piece of music I’m hearing so I know the music, I know the style, but I feel if I don’t hear the performer speaking to me, then something’s lacking. And certainly you know, it’ll be a lifelong struggle with myself too. Just doing that. always trying to put my you know, how can my stamp on it, how can I communicate this? That really reflects myself. And I try to instill that in the students. And we work on that a lot. So obviously we work on learning. We want the right notes.

Evan Goldfine: Sure.

Scott Tennant: Stylistically ornamented in a certain way but not over ornamented, you know, this really intricate stuff. But then in the end I want to hear the person that’s playing it. So it’s making it personal.

Evan Goldfine: How does that personality come through in a performance? And I, you know, I’m just bugging you on this ‘cause this is something that I’ve been ruminating on for months since I started these interviews. It’s like what actually makes, how does one convey one’s self through their musical performance. I mean, I hear it, I know all the different kinds of pianists and guitarists and musicians that just sound like them. I don’t know how you do that. Like it’s a magic trick to know that’s a Segovia record or that’s a Scott Tennant record, or, you know, that LAGQ is maybe cheating a little bit because of the sonic timbre that you get with the four guitars. But what does it take to create that unique sound?

Scott Tennant: You brought up a good point about knowing when you’re hearing a particular performer, it comes down to, of course, their style, but their tone and with guitar, those listeners who don’t play classical guitar or know the details. You know, we pluck with, we have some fingernails grown out on our right hand to pluck the string. Depending on the person and their style and their teacher, et cetera, the nail could be longer or shorter. And that could change daily depending on the weather. You know, you reach into your pocket for your keys and you come out with half a nail left, something broke. So we’re all, we’re always gluing, repairing, things on our nails to just keep them so we can play. But ultimately you have to have control of your tone and because it’s a direct contact, we don’t have a key or a mouthpiece or a bow. It’s really, and that’s what I love about it’s very tactile. It’s a very personal thing. So ultimately it’s, working on your tone to the point where you develop your own touch, where I can tell just by listening, which one of my students or teachers or friends are playing. Right.

Evan Goldfine: That’s so cool. Yeah. To be able to do that. I think some very astute listeners can do that. With their records, you know, that they just know which particular performances they are just by picking up, a particular beginning of the Beethoven fifth Symphony. I can probably do that with many records, but there’s thousands of recordings now of these things. You know, how many Albeniz you know, Leyenda have you heard? I mean, it’s there’s hundreds,

Scott Tennant: A few.

Evan Goldfine: I’d love to talk a little bit about one of your ex band mates, Andrew York, a great guitarist and composer. You know, given how much guitar people play. I’ve been sort of surprised by the relative lack of new classical repertoire for guitar that people love compared to, the flourishing of that music that people play that’s 80 years old. A lot of the energy, in contemporary guitar composition has moved towards steel string and there’s a lot of like popping and tapping and drumming on the guitar, some of which is fine, some of which is a very small amount is excellent but a lot of it is just sort of flashy my aunt would call it flash on trash. that’s, that’s what I’m gonna probably edit that part out. But I think Andrew is probably the greatest compositional voice of contemporary classical guitar. People love to play that music. And I’m curious as to what your take is on his music. You’ve played his recordings and his arrangements for decades and even featured some of his compositions on your solo records. So what can Andrew do? Why is his language so special? What makes it unique and what resonates with you about it?

Scott Tennant: Well, of course Andy’s been one of my closest friends for so long. We met at USC when he first came in as a grad student. We had a program called Studio Guitar. It was called Commercial Guitar then for a while. But really, he was a jazz guitarist that came to study jazz. But he already had sort of mastered the classical guitar style, with the plucking, with the nails and, I know one of his heroes he would talk about a lot was Ralph Towner. Because Ralph was doing the same kinds of things that Andy, I think really aspired toward, you know, maybe writing his own music playing, you know, with the guitar in the left leg, you know, classical style, et cetera. And he was already writing music for acoustic guitar back then when I met him. And I’ve always loved his style. It is people friendly, it’s, It’s not challenging to listen to more than it as it is satisfying and deeply personal in most cases, you know, people can latch onto something that speaks to them when they listen to his music, including myself.

Evan Goldfine: Yeah.

Scott Tennant: And, I’ll always be a fan of his music.

Evan Goldfine: It is very user friendly, as you were say, or listener friendly? I wonder if there’s some pressure from the establishment when people are writing these music. I mean, we’re a hundred years after 12 tone rows were invented and 70 years after Shostakovich and then, you know, going out to like Webern and all these kind of really out guys are, is it sort of declasse to write something as user-friendly as that or is it not seen as impressive among in the conservatories? Is that why we might be not seeing such accessible music?

Scott Tennant: I think music has to be genuine. I think, you know, Schoenberg for instance, started out as a neoclassical composer developed this idea of 12 tone tonality however you want to phrase it. And then a lot of people followed and it was kind of the new thing. Everybody’s looking for the new thing. But I always found that music not genuine. I have friends who it speaks to but ultimately speaking particularly of Andy’s music, it’s genuine. I mean, he’s, it’s really, you know, it’s him. And I don’t want to suggest at all that by saying it’s, it’s listener friendly, that it’s easy music.

Evan Goldfine: Oh, no,

Scott Tennant: no. Or that it’s not deep. But I think people, I know him so I can tell it’s, you know, it’s him speaking through the music, but I think those who don’t know him also feel a real connection because it comes from a true place.

Evan Goldfine: Yeah.

Scott Tennant: And not something that somebody’s trying to be. He is just who he is and he expresses that exceedingly well.

Evan Goldfine: Yeah, there was a track on an album he put out a few years ago called Yamour, the title track from that album where out of nowhere he starts singing and he’s singing along with it. And it’s such a surprise. You know, he’s, I don’t think he ever sung on record before, but it was such an amazing organic piece of music that, like, it felt a spontaneous outpouring almost, and it was so key to that piece. And, you know, Andy doesn’t have the best voice in the world, but it’s perfect in that moment. And, that piece really speaks to me a lot.

Scott Tennant: He wrote a piece for me called, you know, he was always trying to get me to come out of my shell and it’s hard to believe, I guess, that I have his shell, but I am by nature a shy person and, so I could do the classical persona really well because it’s somebody else’s music. And I put my stamp on it and he always said, man, you gotta commit more and come outta your shell. And I didn’t know what he meant. So finally he appeared with this piece. I wrote you a piece, and it’s called Letting Go. And you have to sing. And I was oh God, don’t make me sing. Don’t make people hear me sing. Please. And, it’s kind of like Yamour, where the vocal part is very easy. It’s very simple, and it’s completely woven into the fabric of the music. You know, you have to do it. So, I play that. I don’t play it nearly enough now because I just, you know, when it comes time for you to sing, I just, I’m still a little bit shy about that, but, and he’s been doing more and more of that.

Evan Goldfine: Someone, you know,

Scott Tennant: kind of other elements.

Evan Goldfine: As someone who is admitting to being shy, I mean, you’re a professional performer, in front of other people, does that play into stage fright or have you been able to manage that? Or do you just know the material so well? It’s just a part of you that you can easily make that outpouring through your discipline and your artistry.

Scott Tennant: Of course we all get, you know, I try not to use the word nervous and I don’t want my students to use the word nervous. We say excited. So, yeah, I get overly excited sometimes with a little too much adrenaline and the sweats. I think that’s natural. I think it means that you care about what you’re going to present. You care about the music. But I always enjoyed sharing music with people, especially as a kid. I’d learned I’d play something half learned. In fact, I would just stop at a particular section if I didn’t learn that part yet. Just ‘cause I wanted to play it for people. I so just enthusiastic about the music and I wanted people to hear it. I still have that. I’ve never been the type to, I don’t over promote myself at all, or, I just enjoyed playing music for people. Whenever I felt I was too much in the spotlight I would shy away a little bit. And that’s, and that ties in again to Andy. Writing “Letting go” for me because, you know, he wanted me to open up and feel comfortable with going beyond just sharing notes and sharing more of myself. So that was a good lesson in itself. I think we all get nervous. It’s a fight or flight thing where you’re speaking in front of people and frankly, I get a little fight or flight with things like this where I have to talk. I’m not a great speaker.

Evan Goldfine: You’re doing great.

Scott Tennant: But there’s, I think it’s a natural thing when you’re suddenly in front of people and you feel that you’re in the spotlight, maybe being judged.

Evan Goldfine: Yeah.

Scott Tennant: So what I’ve done is I turned that around and I consider people who are there staring at me waiting for me to do something. I see them as my guests, so they’re in my living room, right? And they’re all my guests, right? I’m not in their space, they’re in my space and, you know, I can look out, I like to talk to them and explain the music, and it becomes more of a communication love fest, and you make that connection. They make the connection and it completely lowers that screen you put in front of yourself of being scared.

Evan Goldfine: I’m taken by your observation that you didn’t want too much of a spotlight on yourself. And you ended up having a breakthrough career in a quartet, which allows you to share that spotlight with three other people, which was Yeah. That strategy is great for you, that you had that opportunity. I was, it was, I always heard you as the anchor sound of that band, I don’t know if that resonates with you, but that, thanks. That’s a compliment that I’m trying to offer.

Scott Tennant: I got, oh, I got most of the fast stuff just because I was a speed demon when I was a kid.

Evan Goldfine: Mm-hmm.

Scott Tennant: And I could just, if they wanted something fast, I could just at least fake it. I got a little tired of being the pyro technician, but you know, I have to say it was fun. It was just so much fun. And, yeah, it was good for a kind of a shy, supportive type like me.

Evan Goldfine: Yeah,

Scott Tennant: to be in a group.

Evan Goldfine: Well, I’m glad we got to do a little psychotherapy also at the end of this conversation,

Scott Tennant: I feel much better.

Evan Goldfine: Thank you. Scott, thank you so much for spending some time with us today. I had one final question for you know, you’re, you’re working with ambitious students now at USC as you have been for many years. How are the kids these days doing? I’ve been reading about how the attention spans are going down and disciplines going down. Do these students still have the same sort of drive as the ones you saw 20 years ago? And do they love Bach as much as, the ones from that period as well?

Scott Tennant: With all the things that are going on that you mentioned, the attention spans, it’s a real thing.

Evan Goldfine: Yeah.

Scott Tennant: Of all the things I could mention, everybody still is crazy about Bach. They all wanna play Bach. And if I were to tell them to go listen to some classical not even broke, just go listen to some music, they would choose Bach. They would choose Bach.

Evan Goldfine: Good choice.

Scott Tennant: Yeah. And I, and I’m happy to listen, you know, when they do choose it.

Evan Goldfine: One final question. Any particular recordings that are important to you right now that you’ve been listening to, of late?

Scott Tennant: Oh, gosh. I still love listening to John. Anything with John Williams, my teacher, Pepe Romero and his brothers. I, they’re always on the top of my listening shelf. And then, David Russell, Yeah, just the old greats. I was really saddened to hear that Kazuhito Yamashita

Evan Goldfine: Oh yeah.

Scott Tennant: Passed away recently because I knew him. I was his chauffeur whenever he would come to LA.

Evan Goldfine: Yeah. What kind of guy was he?

Scott Tennant: He was very serious. Very, you know, you have to in context, you know, as a kid he was playing concerts from a very early age. His father. So I hear, I actually asked him about it. He agreed. He said, yes, it’s true. His father, he had to practice 12 hours a day.

Evan Goldfine: Oh my goodness.

Scott Tennant: His father took care of everything. Here’s when you eat, here’s when you sleep. We travel here, but even during the concert days, it was so instilled in him that when he finally got on the road by himself, he would practice all day and then give the concert. A very disciplined person, but my task, my self imposed task was, I’m gonna make him laugh. I need to see him smile to have some fun. And so we, you know, we would go out and have some dinner. He would loosen up a little bit and yeah. but he was very serious, in a good way. He really loved the guitar and loved music And, so he’ll be missed.

Evan Goldfine: The only other person I’ve heard about the discipline, with the guitar from a father was the great jazz guitarist. Joe Pass.

Scott Tennant: Oh,

Evan Goldfine: A very abusive father, made him practice hours and hours a day. And he became one of the greatest, but I think it was at some personal cost. My favorite albums from, John Williams and,. David Russell are Latin American Guitar Festival by John Williams and, the Music of Barrios by David Russell, which is just a wonderful album. Scott, thanks for sharing that with us and also your love of Bach and for all the great music I will link to your website. And thank you again.

Scott Tennant: Thanks, Evan. It keep doing what you’re doing. It’s a wonderful thing and people are gonna benefit from it. Just hearing how much you love Bach and how much you love music.

Evan Goldfine: Thank you.

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