{"id":306324,"date":"2026-07-27T08:24:11","date_gmt":"2026-07-27T08:24:11","guid":{"rendered":"https:\/\/www.newsbeep.com\/us-ny\/306324\/"},"modified":"2026-07-27T08:24:11","modified_gmt":"2026-07-27T08:24:11","slug":"meet-mak-grgic-of-nyc-voyage-la-magazine","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us-ny\/306324\/","title":{"rendered":"Meet Mak Grgic of NYC \u2013 Voyage LA Magazine"},"content":{"rendered":"

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Today we\u2019d like to introduce you to Mak Grgic.<\/p>\n

Hi Mak, so excited to have you with us today. What can you tell us about your story?
I grew up in a small town in Slovenia, where music was woven into everyday life. I picked up the guitar at an early age, and before long it became clear that this wasn\u2019t just a hobby\u2014it was something I wanted to dedicate my life to. That passion led me first to the University of Music and Performing Arts in Vienna, and then across the Atlantic to the University of Southern California. At USC I completed my Master\u2019s, Doctor of Musical Arts, and Artist Diploma, all at the Thornton School of Music. Looking back, those years weren\u2019t just about refining my technique\u2014they shaped my curiosity. I became fascinated by everything from Baroque performance practice to Balkan folk traditions, microtonality, and contemporary music, and I\u2019ve spent my career trying to build bridges between those worlds.<\/p>\n

As my career developed, those interests opened doors I never imagined. I\u2019ve had the privilege of performing in venues like Carnegie Hall, the Kennedy Center, the Musikverein in Vienna, Walt Disney Concert Hall, the Shanghai Grand Theatre, and Taipei National Theater, while appearing as a soloist with orchestras throughout North America and Europe. Along the way I\u2019ve collaborated with artists I deeply admire\u2014from k.d. lang and Martin Chalifour, concertmaster of the Los Angeles Philharmonic, to Michael Abels, whose \u201cBorders\u201d concerto I premiered, as well as musicians like Chee-Yun Kim, Augustin Hadelich, Curtis Stewart, and the Assad Brothers. I\u2019ve always believed that the guitar can be a meeting place for different musical traditions, and those collaborations have reinforced that belief.<\/p>\n

Recording has become another important part of that journey. Albums like Slavic Sessions,\u00a0Mak|Bach, Balkanisms, Peaceful Guitar, and Cinema Verismo reflect different chapters of my musical life\u2014from reimagining Bach through historical tuning systems to celebrating my Balkan heritage and commissioning new works for the guitar. Those projects have earned four Grammy nominations, but what means the most to me is that each recording represents a chance to expand what people think the classical guitar can do. Whether I\u2019m performing, founding festivals and educational initiatives, or commissioning new music, the goal has remained the same: to help the guitar tell stories that connect people across cultures and generations.<\/p>\n

Can you talk to us a bit about the challenges and lessons you\u2019ve learned along the way. Looking back would you say it\u2019s been easy or smooth in retrospect?
Like everyone in the performing arts, the COVID-19 pandemic was an incredibly difficult period. Almost overnight, concert halls went dark, festivals were canceled, and the opportunities to gather and make music simply disappeared. For musicians whose lives revolve around live performance and human connection, it was a profound loss. There was certainly uncertainty about what the future of our profession would look like, but it also gave me something that years of touring rarely had\u2014time to pause and reflect.<\/p>\n

Instead of trying to wait for things to return to normal, I asked myself how I could continue serving people through music. That reflection led me to create and record Peaceful Guitar, an album designed to provide a sense of calm and comfort during an anxious time. I also founded the Virtual Guitar Orchestra, bringing together guitarists from around the world to perform together online when we couldn\u2019t be together in person. What started as a response to the pandemic has since grown into a global community of more than 5,000 guitarists from over 50 countries. The project has been recognized by the Library of Congress for its cultural contributions and has partnered with organizations like the National Association for Music Education (NAfME) and the Augustine Educational Foundation to help music ensembles stay connected through virtual performance.<\/p>\n

Looking back, I wouldn\u2019t say I\u2019m grateful for the pandemic itself, but I am grateful for what it taught me. It reminded me that music isn\u2019t defined by a concert hall\u2014it\u2019s about creating connection. That period challenged me to think more creatively, to embrace technology in meaningful ways, and to find new avenues for building community. Those lessons continue to influence the way I approach both performance and education today.<\/p>\n

Can you tell our readers more about what you do and what you think sets you apart from others?
I\u2019ve always thought of myself less as someone who plays the guitar and more as someone who explores what the guitar is capable of. The instrument has an incredibly rich history, but I don\u2019t believe its future lies in repeating the same repertoire over and over. My work has become about connecting worlds\u2014bringing together Baroque music, Balkan folk traditions, contemporary composition, and even influences from jazz, film, and popular music. Whether I\u2019m performing as a soloist, collaborating with other artists, or working closely with living composers to help shape new works, I\u2019m always asking the same question: What stories can the guitar tell that audiences haven\u2019t heard before?<\/p>\n

That philosophy is reflected in my recordings. Four of my albums have received Grammy nominations, each exploring a very different musical landscape. Mak|Bach reimagines Bach through historical tuning systems, uncovering new colors in some of the most familiar works ever written. More recently, Slavic Sessions, recorded with Polish guitarist Mateusz Kowalski, celebrates the rich musical heritage of Central and Eastern Europe, placing Chopin and Dvo\u0159\u00e1k alongside contemporary voices like Leon First and Miroslav Tadi\u0107. I love creating recordings that invite listeners to hear unexpected connections across centuries, cultures, and musical traditions.<\/p>\n

Collaboration has been equally important to my artistic life. One of the projects I\u2019m most proud of is Michael Abels\u2019 Borders concerto, a work I helped develop with Michael over several years before premiering it with ROCO and later performing it at Carnegie Hall with the American Composers Orchestra. I\u2019ve also had the joy of sharing the stage with artists like Martin Chalifour, former concertmaster of the Los Angeles Philharmonic, Chee-Yun Kim, Curtis Stewart, and the Assad Brothers. Looking ahead, I\u2019m especially excited about two new guitar concertos that continue this spirit of exploration. Fretish, by acclaimed Slovenian composer Vito \u017duraj, pushes the guitar into entirely new sonic territory, while a new interactive concerto by Grammy- and BAFTA-winning composer Austin Wintory draws inspiration from the immersive world of video games. Being part of the creative process from the earliest conversations through the premiere is incredibly rewarding, and I hope these works will become lasting additions to the guitar repertoire.<\/p>\n

When people ask what I\u2019m most proud of, it\u2019s not any single concert or award\u2014although I\u2019m deeply honored that four of my recordings have received Grammy nominations. What means the most to me is helping expand the voice of the classical guitar: introducing audiences to new composers, building collaborations that cross musical boundaries, and creating performances and recordings that make people hear the instrument in a new way. If there\u2019s one thing that sets me apart, I hope it\u2019s that sense of curiosity. I\u2019m always looking for the next collaboration, the next composer, or the next idea that can reveal something new about this remarkable instrument.<\/p>\n

What quality or characteristic do you feel is most important to your success?
If I had to choose one quality, it would be curiosity. I\u2019ve never been content simply mastering the existing repertoire\u2014I want to understand where music comes from, how different traditions connect, and what new possibilities still exist for the guitar. That curiosity naturally leads to collaboration, because some of the most rewarding experiences in my career have come from working closely with composers, performers, and artists from different backgrounds. I think ambition is important too, but for me it\u2019s always been driven by a desire to keep learning and exploring rather than chasing accolades. When you\u2019re genuinely curious, you continue to grow, and I think that\u2019s what has opened many of the doors in my career.<\/p>\n

Contact Info:<\/p>\n

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