By ANTIGONI GONI

In Greece, where I come from, the guitar is tightly integrated into everyday life and culture: it is the instrument that accompanies our popular songs, and brings friends together by the seaside in perfumed summer nights. This is true in other European countries as well. For this reason, I considered musical instruments (especially classical ones) as something that must be learned very early in life. In my opinion, classical guitar study must start very early to reach the highest levels of accomplishment.

When I came to the U.S., this was my assumption. With surprise, however, I discovered that this perspective was the exception and not the norm. Here, the guitar did not belong to the mainstream idea of "classical instruments." And without stimuli or goals, potential guitarists and their parents do not consider the pursuit of classical guitar studies as an artistic option. Many teenagers pick up the electric guitar at 12 to drop it by 14, or switch to classical only much later; a first-year college student with no classical guitar background might start exploring the instrument at an age when their European peers begin making the rounds of the international competition scene. I realized how important it would be to offer talented young classical guitarists of this country very high-quality teaching at a pre-college level. To detect potential in young students and bring it to the fore, then help it develop and flourish, became my plan and my vision. When I started the guitar department at the Juilliard Pre-College Division in 1995, it also became my joy.

10th Anniversary of Pre-College Guitar Guitarists Tali Roth, Antigoni Goni, and former faculty Pre-College Chamber Orchestra Andrew Thomas, conductor Paul Hall Saturday, October 7, 5 p.m. Master Class with Sharon Isbin Paul Hall Sunday, October 8, 2 p.m. Free; no tickets required

But my vision and passion alone would not have been sufficient to realize my project. The help of Sharon Isbin, director of the college-level guitar department at Juilliard (and my former teacher) and Andrew Thomas, who recently retired as director of Juilliard's Pre-College Division, have been indispensable. Their open-mindedness, their support, and their experience were key elements in the formation of the Pre-College guitar department. Ultimately, though, what brought the program to its current state of excellence are its students. Working with them was indeed a blessing and a privilege—they were open, curious, fearless, experimental, and unspoiled. They had no inhibitions and limitations. They loved to be challenged and adored challenging me in return. I couldn't have wished for a better bunch.

The Pre-College Division aims to provide young students with the highest level of education in their chosen instruments, affording them the opportunity to explore very early the main elements of what may become their professional future, and compelling them to confront its difficulties and complexity. Students have the chance to participate in chamber music ensembles, as well as master classes with acclaimed international figures such as Sharon Isbin, Evangelos Assimakopoulos and Liza Zoe, Manuel Barrueco, Raphaela Smits, and Roland Dyens. In the last decade, the Pre-College guitar department has prepared its students for international youth competitions and workshops such as the Aspen Music Festival and School, Stetson International Workshop (Fla.), Koblenz Youth Competition and International Festival (Germany), and the Juilliard Pre-College Open Concerto Competition. Perhaps most important, the program prepares its students for successful auditions to enter the best music schools in the U.S. Our alumni have continued their studies at Peabody Conservatory, Columbia University, Hartford University's Hartt School, Eastman School of Music, Oberlin Conservatory of Music, and Manhattan School of Music.

After I had been teaching for nine years in the Pre-College Division, the Royal Conservatory of Brussels offered me the position of professor and head of its guitar department in September 2004, and I had to make one of the hardest decisions of my life. Leaving the program in the hands of my colleague and dear friend Tali Roth was the only thing that relieved my strain. Among Tali's many qualifications, what are for me her strongest assets are her passion and humanity. Teaching young people is a special vocation, as they can only be guided by affection and care. Besides having to be an accomplished artist, to be a teacher you have to be a nurturer and a guide, and Tali Roth is all of that. Under her direction I am sure that the program will continue and grow, and fulfill the vision I began with 10 years ago.

Today, what stays with me is the satisfaction and pride of having started a great guitar department. What I cherish even more, however, are the memories attached to it. I still can see a 10-year old girl, all cheeks, in an audition tape; an 11-year old boy in a suit telling me, in a very serious voice, after his audition that he was happy to enter and accept me as his teacher; and a rock band onstage, playing a graduation concert encore in front of a laughing auditorium. While teaching teenagers is a risky business, it is also a very fulfilling experience.

Former Pre-College guitar chair Antigoni Goni is now professor of guitar at the Royal Conservatory in Brussels and artist-in-residence of San Francisco Performances.