Guitarist An Trần. — Photos AMM

The 2nd International Guitar Workshop struck a chord in Hà Nội recently, aiming to inspire, educate and connect young Vietnamese and international musicians.

The workshop’s founder, An Trần, a guitar professor at Roosevelt University’s Chicago College of Performing Arts, the University of Illinois Chicago and Northern Illinois University, spoke to the media about his ongoing efforts and contributions to training and supporting young guitarists.

Could you tell us about the workshop?

The idea for the workshop came to me in 2023 when I returned to Hà Nội to perform and serve as a judge at the Hà Nội International Guitar Competition.

I noticed that, compared with international contestants, Vietnamese participants faced more difficulties. After the competition, many of them asked if I could teach them.

However, I cannot teach long term in Việt Nam, so I thought about organising a short summer course where young musicians would have the opportunity to study directly with the world’s leading artists.

I have always wanted to be a bridge between Việt Nam and the world in both music and guitar. The workshop helps me realise that goal.

I hope these connections will contribute to putting Việt Nam on the international guitar map and, at the same time, inspire the young generation to confidently reach out to the world.

An Trần and his teacher Professor Benjamin Verdery at the workshop last August. 

Is it difficult to organise an international workshop and how do you mobilise human and financial resources to run it?

Yes, it is always a big challenge to organise an international workshop because I want young Vietnamese musicians to be able to access it with low tuition fees.

Luckily, over the past two years, my colleagues and I have received a great deal of unconditional support from international artists, friends and guitar lovers. They come to teach, perform and share experiences without worrying about remuneration.

However, to organise a long-term and sustainable workshop, we really need more support from organisations, businesses and individuals who are interested in art education. We are gradually building a network of partners and sponsors to help cover the costs of international artists’ travel, venues and scholarships.

I believe that if we have stable resources, the workshop will not only help Vietnamese students learn from the world’s leading artists but also become an international music destination contributing to promoting the image of Việt Nam through culture and art.

In the second workshop last August, you invited your teacher, Professor Benjamin Verdery, to Việt Nam to perform in person. You must have been glad?

Yes, this is the first time I have invited my teacher to Việt Nam to perform and teach at the workshop. My teacher taught me that technique is just a tool; the important thing is to find your personal voice so that the music touches the listeners' heart.

That lesson has stayed with me to this day in both performing and teaching. Certainly, it will stay with me for ever.

Verdery is very important to me, not only in performance but also in musical thinking and his way of working. The last workshop was really special to me. It was like a circle – the teacher who once inspired me was now standing on stage with me, sharing his love of music with new students.

You are a researcher and music lecturer. What do you think about the teaching of arts and encouraging artists to participate in high school education?

I think this is a very necessary policy. Art and music are not only entertaining but also help students develop intellectually, emotionally, and in discipline and creativity.

Almost all high schools in the US have music programmes, and it is very common to invite professional artists and musicians to teach and perform in workshops. Killing two birds with one stone, this inspires students and saves costs. Thanks to that, students are directly exposed to art and creativity in a lively way.

What do Vietnamese students gain from your workshop?

I see a lot of creative potential in young Vietnamese guitarists. I am impressed to see students beginning to develop a mature musical mindset.

They not only have excellent techniques but also know how to tell stories and express emotions through music. Additionally, they learn supporting skills and emotional management to develop more comprehensively.

In the workshop, the main language used is English. This choice helps students develop their foreign language skills alongside their musical expertise.

The students showed great passion for rehearsing. Their playing improved and they became more confident performing in public. More importantly, they also learned teamwork, solidarity and motivated each other to develop together.

What young Vietnamese people lack is the opportunity to regularly interact with an international professional environment. When given the opportunity, they progress very quickly. I believe that with proper investment and support, the young generation of Vietnamese guitarists can absolutely reach regional and world levels in the near future.

What are your future plans to continue being a bridge?

If I say 'mission,' I’m afraid it sounds too big. But I believe that each of us always has the motivation to constantly strive for what we desire in life and creativity.

I am preparing to record a new album of works written for me by international contemporary composers. This is a completely personal project that I hope will introduce new voices of classical guitar to the public.

I will continue to teach at universities in the US, and I am also planning the next edition of the workshop in Hà Nội, scheduled for August 2026, with the participation of international artists and professors. — VNS