Alexandra Whittingham
'Augustine strings never fail to highlight the best qualities of my guitar. Their consistency in tone, balance and depth is why they’re my go-to choice.'
About Alexandra Whittingham
"Whittingham’s performance features some beautiful musicality, clean playing, and nice tone, she is a young artist to keep an eye on." - This Is Classical Guitar
Performing with pin point accuracy and clarity as a solo performer, with orchestras and ensembles, Alexandra Whittingham has become a favourite for the critics who praise her impeccable technique and sensitive musicianship.
“I actually started playing rock and pop on acoustic and electric guitars when I was about 5 years old”, says Alexandra. “My dad plays guitar and he taught me how to play Snow Patrol and Green Day songs. I advanced quickly with a notably good ear and dexterity and was offered lessons. I was getting on really well, then I heard my tutor, who was classically trained, playing Spanish music on his nylon strung guitar which just seemed to immediately resonate with me.
I really didn’t know much about classical music, I’d watched a lot of old films with my parents and, more often than not, classical guitar was featured in the sound tracks, but this was the first I’d heard it played live.
Since then it’s pretty much all I’ve played. I then took private lessons and started to play at school concerts, in churches and the teachers were supportive all the way. It felt good to have the ability to be able to bring something new to the school which didn’t teach classical music.
I enrolled in the Chetham School of Music when I was eleven in 2008 and stayed until I was eighteen, my main instrument was classical guitar, whilst also studying jazz guitar, piano, violin and composition, which I’ve always had an interested in. I found it a bit daunting at first, as I came from getting away with 20 minutes practicing a week, to this school basement without windows where we practiced for three hours a day.
I really didn’t know much about classical music, I’d watched a lot of old films with my parents and, more often than not, classical guitar was featured in the sound tracks, but this was the first I’d heard it played live.
Since then it’s pretty much all I’ve played. I then took private lessons and started to play at school concerts, in churches and the teachers were supportive all the way. It felt good to have the ability to be able to bring something new to the school which didn’t teach classical music.
I enrolled in the Chetham School of Music when I was eleven in 2008 and stayed until I was eighteen, my main instrument was classical guitar, whilst also studying jazz guitar, piano, violin and composition, which I’ve always had an interested in. I found it a bit daunting at first, as I came from getting away with 20 minutes practicing a week, to this school basement without windows where we practiced for three hours a day.
You can walk the walk across the Abbey road zebra crossing, or even book a ticket for a tour of what is arguably the most famous recording studio in the world, whilst Alexandra is ‘asked‘ to perform in the now legendary…studio one.
“It was an amazing opportunity, I played in the same studio where so many famous albums and soundtracks have been recorded and I actually got to play on The Beatles piano which was rather cool.
EMI contacted me to perform with Imelda May at a joint celebration they were having with Universal Music in Abbey Road Studios, as they’d raised over 6 million for charity. The whole thing was surreal, ‘Oh my days!’, I had my own dressing room and pizza delivered. I played a couple of pieces and met some insanely important people.”
“It was an amazing opportunity, I played in the same studio where so many famous albums and soundtracks have been recorded and I actually got to play on The Beatles piano which was rather cool.
EMI contacted me to perform with Imelda May at a joint celebration they were having with Universal Music in Abbey Road Studios, as they’d raised over 6 million for charity. The whole thing was surreal, ‘Oh my days!’, I had my own dressing room and pizza delivered. I played a couple of pieces and met some insanely important people.”
I admit I found it hard and nearly threw in the towel. Luckily I had quite a wide variety of outside interests, like playing in a football team for example and I also played every week in the Wigan youth jazz orchestra, where my jazz studies came in handy. We toured Germany and the Czech Republic and won some awards, which was a great experience.
I enjoyed my time at Chetham, having gained my Licentiate of the Royal Schools of Music diploma in guitar performance. It all started to move forward for me after I won the inaugural Edinburgh Guitar Competition in 2013, after which some great offers came in.”
Alexandra has also enjoyed many prestigious solo performances around Europe including at the Yehudi Menuhin School and the British Embassy in Paris and was invited to perform Castelnuovo Tedesco’s Concerto N0.1 with the Gorton Philharmonic orchestra. She continues,
“I really enjoy playing the Tedesco concerto which I personally prefer to the Rodrigo concerto, but it’s not as well known, I think the second movement is beautiful. Another favourite for me is the Malcolm Arnold concerto for guitar and chamber orchestra. I’d played the Tedesco with the Dorset Chamber Orchestra in a gorgeous church with wonderful acoustics.
I love playing with an orchestra, but there’s a lot of pressure on me as the classical guitar isn’t an orchestral instrument. I’m responsible for everything that happens on that stage, there’s nothing masking me, unlike a violinist who may have a string quartet to cover up mistakes. But whilst the guitar concerto is demanding and insanely difficult, it’s nice to know you are being backed up by an orchestra. I’m really looking forward to working in the future with orchestras which is something I really enjoy and be myself on the guitar.
“I really enjoy playing the Tedesco concerto which I personally prefer to the Rodrigo concerto, but it’s not as well known, I think the second movement is beautiful. Another favourite for me is the Malcolm Arnold concerto for guitar and chamber orchestra. I’d played the Tedesco with the Dorset Chamber Orchestra in a gorgeous church with wonderful acoustics.
I love playing with an orchestra, but there’s a lot of pressure on me as the classical guitar isn’t an orchestral instrument. I’m responsible for everything that happens on that stage, there’s nothing masking me, unlike a violinist who may have a string quartet to cover up mistakes. But whilst the guitar concerto is demanding and insanely difficult, it’s nice to know you are being backed up by an orchestra. I’m really looking forward to working in the future with orchestras which is something I really enjoy and be myself on the guitar.
Everyone has their own style and technical approach to the instrument. I spent years studying technique and there are a lot of players I admire, especially the Polish guitarist Marcin Dylla who is the best I’ve seen live. But I’ve never been what I would describe as a robotic player, I regard myself as more of a musical player, often putting my own stamp on a piece of music, especially 19th century romantic music which I love.”
A lot of rock and blues guitarists are secret admirers of classical players and, as often is the case, enjoy watching what seems to be challenging fingerboard stretches, solo runs and intricate chord shapes. For a live performer like Alexandra, how much time is spent warming up before a show?
“I’ve talked to some guitar players, especially solo artists who have rituals they must perform before each show, some lock themselves away and won’t talk to anyone for 30 mins. I don’t have anything habitual like that, it would put even more pressure on me, having a good headspace is an advantage, but I’d rather be normal and talk to people and think, this is cool let’s do it.
Sure, I’ll warm up for a while, that’s a necessity and on the same guitar that I’ll perform with which was made by British Luthier Christopher Dean. I had a few to choose from, so I did a blindfold test and picked one purely for the stunning playability and sound.
It’s built from the same designs and in the same way as a 1943 Hermann Hauser classical guitar, which was played by Andrés Segovia. I’ve since learnt that this model includes the headstock to the neck ‘V’ joint Hauser was known for, and that tight focused sound that I love, is down to a unique internal bracing pattern. The soundboard is German spruce, the back and sides are Indian rosewood, the neck is mahogany and ebony is used for the fingerboard.
It plays and resonates so well, so I spent an age before I decided on what strings to use to complement the sound which is so rich. I tried a lot, but I’m sold on Augustine Regal Blue High-Tension nylon strings. They have a great tone and superb sustain. I use a lot of drop D tuning and the low end is so tight. They’re also the most consistent strings and I know I’ll get the same sound quality and reliability from every new set. I can work with them to eliminate any unwanted scratchy fingernail sounds that may creep in.”
“I’ve talked to some guitar players, especially solo artists who have rituals they must perform before each show, some lock themselves away and won’t talk to anyone for 30 mins. I don’t have anything habitual like that, it would put even more pressure on me, having a good headspace is an advantage, but I’d rather be normal and talk to people and think, this is cool let’s do it.
Sure, I’ll warm up for a while, that’s a necessity and on the same guitar that I’ll perform with which was made by British Luthier Christopher Dean. I had a few to choose from, so I did a blindfold test and picked one purely for the stunning playability and sound.
It’s built from the same designs and in the same way as a 1943 Hermann Hauser classical guitar, which was played by Andrés Segovia. I’ve since learnt that this model includes the headstock to the neck ‘V’ joint Hauser was known for, and that tight focused sound that I love, is down to a unique internal bracing pattern. The soundboard is German spruce, the back and sides are Indian rosewood, the neck is mahogany and ebony is used for the fingerboard.
It plays and resonates so well, so I spent an age before I decided on what strings to use to complement the sound which is so rich. I tried a lot, but I’m sold on Augustine Regal Blue High-Tension nylon strings. They have a great tone and superb sustain. I use a lot of drop D tuning and the low end is so tight. They’re also the most consistent strings and I know I’ll get the same sound quality and reliability from every new set. I can work with them to eliminate any unwanted scratchy fingernail sounds that may creep in.”
Ah, yes, the nails. How does Alexandra explain to none-guitar-playing friends, why she only has long trendy nails on one hand? “I have very short nails on my left hand and long on my right hand, except for my middle finger. I had an accident with a bowling ball when I was much younger and it won’t grow straight, so I have to wear a false nail, the joys of a classical guitar player, and as for nail varnish…forget it,” she laughs.
Alexandra hasn’t forgotten all the people who have helped her over the years and enjoys giving something back in the form of guitar lessons, wherever she is in the world.
“I teach all styles to all ages which I’ve been doing now for a few years, but I try to concentrate on classical. I travel a lot but I can teach from anywhere as long as I have a good internet connection. I really enjoy it, although some students want to run before they can walk, which I can relate to.
I can remember being so enthusiastic when I was eleven, all I was allowed to play for weeks were scales and open strings. It’s not in an eleven year olds remit, they want to play fast and show off to their friends….like some adults.”
Alexandra hasn’t forgotten all the people who have helped her over the years and enjoys giving something back in the form of guitar lessons, wherever she is in the world.
“I teach all styles to all ages which I’ve been doing now for a few years, but I try to concentrate on classical. I travel a lot but I can teach from anywhere as long as I have a good internet connection. I really enjoy it, although some students want to run before they can walk, which I can relate to.
I can remember being so enthusiastic when I was eleven, all I was allowed to play for weeks were scales and open strings. It’s not in an eleven year olds remit, they want to play fast and show off to their friends….like some adults.”
In 2019 Alexandra graduated from the Royal Academy of Music in London, after studying with Michael Lewin the Head of Guitar, which she describes as the busiest four years of her life.
“I played so much chamber music, learnt about guitar voicing and fingerboard harmonies, played solo, in duos, trios and strings quartets, played with violinists and flautists, all of which involved exams. It was intense, but an incredible feeling when I graduated, from somewhere I really didn’t think I'd get a place within.”
