Thank-you. Yes, a new guitar! Paid a visit to Geoff of Devon Classicals last weekend and traded my Pardo for this 2023 Stephen Eden Friederich copy. It was Stephen's demo guitar, so not brand new and has a few playing marks. Had read quite a bit about these guitars and thought it might be too big as the nut is 53cm, but actually its comfortable to play. It has a lovely rich sound, if I was better at recording one may be able to hear that quality more!
Hi, do you happen to know if Yamashita plays two tremolos at the same time in Bydlo for pictures at an exhibition? In the Toronto recording it sounds like more than 1 tremolo is being played and in the recording you posted it sounds like that. But in another recording yamashita definitely only uses 1 tremolo.
I have the score and there is only one tremolo marked and only on one note, sounds to me like that is what he is playing. In the Gnomus mvt, which is in 4/4, his footnote is 4 ami sequences for the duration of a minim. In the Bydlo mvt, which is in 2/4, his footnote is 3 ami sequences for the duration of a quaver.
I collected all the time he steals from every note attack he finds difficult. Now I can practice music, study math, clean my house and listen to someone that respects music and time. And more...
One of the greatest guitarists of the 20th century! She was already old in 1982 and didn't have her amazing young age virtuosity, but one can still sense her special musicalness. Thank you for sharing, this is yet another one of your wonderful recordings!
Great to hear this - wish Radio 3 still had weekly 30 min programmes of classical guitar. Carlos is a great musician - his CD of Beatles tunes well worth a listen. His arrangement of Strawberry Fields Forever is particularly awesome. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-hTX3xReLmJE.htmlsi=khiMn4lW4-ea6wZK
Julian Bream ein sehr produktiver Musiker, der ein äußerst großes Repertoire erarbeitet hat und mit keiner seiner Interpretationen enttäuscht. Ein hervorragender Künstler mit intensiver Ausstrahlung, das er auch hier mit der Live-Aufführung unter Beweis gestellt hat. Meine große Bewunderung gilt seiner Vielfältigkeit und Neugier auf alles. Seine legendäre Lauten-Interpretation sind hörenswert. Oftmals spielte er vor der Pause die Renaissance -Musik auf der Laute und im 2. Teil eines Konzertes dann mit der Konzertgitarre. Ähnlich wie Yehudi Menuhin, gesellte er sich gerne mit anderen Musikern anderer Musikrichtungen, wie der der Jazzmusiker oder mit indischer Musik. Einfach großartig!
Thank you so much for that information . As you know Segovia was the ultimate perfectionist when it came to the classical guitar . That says volumes about this great talent . What a loss !
What can incredible talent . From what I have read she had a terrible childhood with a tyrannical father . Sad she had. Such an untimely death . Does any one know if she ever met Segovia ?
In an interview given by Lagoya he says, Segovia heard them in concert in New York, duly impressed he wrote to Tedesco to hear them when they reached LA and write duos for them (the 24 preludes and fugues being the result). Segovia heard Presti when young and reportedly said she doesn't need any help from me. According to the Duarte-Segovia book, she would have liked some help at that stage, seems it all turned out fine in the end though.
Thanks for listening in. I didn't realise it was written for him until I got the score. Don't know if you have played through it, it's amazingly detailed.
I remember this from that era when the BBC used to broadcast live classical guitar concerts in the afternoon. My dad recorded it for me on cassette while I was out (I spent the first six months of 1985 with my parents before going back to France). I came home late and over-refreshed, poured a night cap and played the tape, and of course, it was sublime. Can't understand how Segovia could not like Una Limosna. I think he must have been in denial (there was a guitarist greater than him?). That was the year I abandoned aspirations to play classical guitar due to travelling too much. I sold my guitar to some gypsies in Lezignan-Corbieres when I was broke. I eventually switched to Greek bouzouki and have been playing that for 24 years now. I'm sure I still have that cassette somewhere though. Thanks STG for uploading this memory, best wishes.
Glad it brought back some nice memories. We all have blind spots music wise, with me its Julia Florida, I find it too syrupy and have to run away should anyone threaten to play it!
Thanks for listening in. I didn't write it out, what I did was find the score of the Casals version to start me off and then I listened to Carles Trepat and tried to put what I could get from that on top of the Casals. The Pujol is a nice version. Hope that helps.
Hubert was my guitar teacher at the Musik Hochschule in Cologne. Back in the day. I graduated in Maastricht and was so influenced by Hubert that I rediscovered the guitar. The Maastricht teachers did not understand his style, which frustrated me enormously. Hubert felt equally misunderstood, which is evident in his career progression. Hubert has an enormous talent for the guitar, and his interpretation of Bach, Leo Brouwer, barrios, and many others made this music come to life. I live and work now as a celebrated film music composer with 35 international awards in America. My jury work, such as the Grammy, Bafta and European Film Academy, is added. I added a video in which you can clearly hear Hubert's sound and influence on my playing. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-x_y8kugjcjI.htmlsi=IrcYpL77CZzqwdiE After that period I discover my own style.
You’re beating Spotify featuring this recording @selfTaughtGirl. Amazing performance, never mind the coughs, I’m sure there is a way to edit the recording to remove those traces. Many thanks.
@@ScottOuelletteGuitar I used Hannabach Goldin in the past, they are rather expensive now though and so use Knobloch carbon instead. I've sometimes used the pro-arte semi-polished to reduce string squeak, I find them really effective but maybe a little dull sounding.
@@selfTaughtGirl Yes, Hannabach can be a bit pricey, but worth it if you like them. Knobloch are also good strings which I've tried. I have a love/hate relationship with Pro-Arte strings, I grew up playing on them, and I dont have a problem using them, but I do prefer Hannabach or Knobloch first these days. Thank you for sharing this with me!
Thank-you, there is something about viola-de-gamba and sad music. Don't know if you have seen the movie, its very enjoyable, though given its French its probably working on deeper levels I'm completely oblivious too!
Are you really self-taught ? Your right hand is a little 'straight in line with the forearm but you make it work and I've seen plenty of 'different' techniques that work for the player. You definitely make your technique work for you. Are you really self-taught? If so, you really did a good job like Segovia said of himself being both teacher and pupil and somehow made it work. You definitely make it work. That really was lovely :) - Mark. Btw That is a great sounding Aladid guitar. I've not come across them here in Australia but that one both looked and sounded fantastic.
Yes, I started when I was about 20, 40 years ago now. No intention of playing classical, just sort of eventually fell into it. Adalid guitars are quite popular in Europe, it had a lovely sound, after a while I found its small body size a bit irritating. If they did one based on one of Torres's full size models I'd be highly tempted to get one...
