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We have some more great videos of Grisha Goryachev playing some fantastic flamencos, including a 1967 Marcelo Barbero Hijo (not even a flamenco, but a great example of how a good guitar is a good guitar), a 2016 Jesus de Jimenez in spruce and Bolivian rosewood, a 2016 Jeronimo Perez in cedar and pau ferro, a G. V. Rubio ‘1951 Barbero Ex Sabicas’ model blanca, and a 1973 Gerundino Fernandez in cedar and spruce.

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Grisha Goryachev recently stopped by GSI and played just about every flamenco guitar we have for us! Here are the first few videos, including a 2011 Jesus Bellido, a 2008 Francisco Muñoz Alba that previously belonged to Grisha, a 2006 Conde Hermnaos AF 25/R in koa and spruce, a 1958 Manuel Reyes, a 1957 Arcangel Fernandez, and 2001 Conde Hermanos AF 25/R in spruce and CSA rosewood.

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Grisha Goryachev & Serouj Kradjian will perform with Misuda Cohen (flamenco dancer) and Diego Alvarez Muñoz (cajon and percussion).

Stars on Brand
417 N. Brand Blvd.
Glendale, CA 91203

For tickets and more information, visit:



We love when internationally-acclaimed guitar virtuoso Grisha Goryachev visits us here at GSI. His brilliant guitar demonstrations – not to mention our seven-part interview – are among the most popular videos on our YouTube channel (in fact, one of our most-watched videos is Grisha trying out a real Torres in our showroom), so we decided it was high time to share his story about his life as a guitarist. Read on for Grisha’s bio!

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Paco de Lucia ‘Bulerias’                                                               Grisha plays 1890 Torres
Sabicas ‘Farruca’                                                                        Rafael Riqueñi ‘De la Vera’
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In the latest episode of Scott Wolf’s podcast All Strings Considered Scott talks with his friend Grisha Goryachev (they were at the New England Conservatory together). Grisha, of course, is the flamenco virtuoso whom we’ve featured quite a bit here on the GSI blog and whose videos have over two million YouTube views.

I’m personally interested in this one as I first heard of Grisha when I spent a semester in Leningrad (that’s what it was still called when I was a student there – it’s called St. Petersburg now) and he was a 12-year-old prdigy, and I later studied technique with Grisha’s father, a brilliant teacher and truly lovely person, when I was a student in Boston in the late ’90s.

In Scott’s words:

“Grisha speaks about his quest to enrich the classical guitar canon by the addition and performance of works by the great composers of the solo flamenco guitar, like Sabicas, Paco de Lucía, Rafael Riqueni, Gerardo Nuñez, Manolo Sanlucar, and others.

It’s inspiring to hear about the role his father had in Grisha’s musical training; his search for flamenco repertoire when sheet music was a sought-after commodity in Russia at the time, his patience, his support and dedication.

You’ll also hear about Grisha’s chance to play for Paco de Lucía and Grisha’s recordings of two works by Sabicas and two more by Paco de Lucía.”

You can listen to the podcast by clicking on the ‘Media’ menu (at the top of our site) and choosing ‘podcast’ or you can subscribe or listen on iTunes by clicking here.


Flamenco Guitarist Grisha will be performing and giving a master class at Saddleback College in Mission Viejo, CA, this Sunday, May 22. Masterclass is only $15 with concert ticket and $20 without. Concert is $20 and $15 for students. For more info call 949-582-4656 or click here.

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If you’re in Southern California, you can catch Grisha this Sunday in Glendale. For more info go to the website.

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We sat down with flamenco guitarist Grisha Goryachev and discussed why he plays flamenco, why he’s devoted himself to playing solo pieces by the masters, and, this being Grisha, we of course talked technique. Here are all seven parts of our interview with him, tidy-ied up in one post.

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So here’s the final part of David Collett’s interview with Grisha, where they discuss the role of flamenco in the classical repertoire. I’m trying to decide if I agree that classical players are really prepared to integrate flamenco into their repertoires without a solid foundation in flamenco. I guess I feel that it’s not as simple as just learning the notes to really get the feel of flamenco, but there are probably a lot of solo guitar pieces that could be learned that way. Now accompaniment…