Always the consummate musician. Capricho Catalan takes me right back to our studies with José Tomás in Alicante, Spain. The late, great Philip Rosheger first introduced me to this piece. David Russell is, and always has been supremely talented-like few others.
ughh?? Did Phil Rosheger pass? I studied with him a bit in Western Mass, and a bit at Ghiglia's class in Aspen in the 70's. I hope I got that wrong. let me know ; neckejag@gmail.com. Thank you in advance
Замечательный и великолепный гитарист. Его манера исполнения музыкальных произведений испанских композиторов 18-20 веков вызывает восхищение. Дай ему Бог многие лета и здоровья. Мои восхищения его Богом данные таланты
This is very well done ( and recorded ). If this transcription is published, I would like to know of it. Thank You. Glad to see that you're "still at it" ( touring or not ). You add great depth to the guitar world.
Wow. This is an interesting contrasting look at what David Russell sounds like without a Damann guitar. How essential it is for his unique sound is amazing. He still sounds like him just a bit turned down with this instrument. It might just be the audio. I don't know.
I admire Mr Russell for his playing for many reasons . Naturally his technique is impeccable and his interpretations are enormously musical . Would it be understandable however to say the Capriccio Catalan transcribed for guitar from the piano becomes a slightly different composition . The guitar renders it more soulfully than is possible on the piano. For this reason I think it would be wonderful if Mr Russell slowed his tempo a bit and injected more rubato here and there , as Segovia does playing the transcription by Michael Lorrimer .
Beautiful interpretation! Warm, inviting, delicate, imbued with color and nice touches of rubato. Far better than the version played by, the over worshipped, Segovia.
It is likely to be made of cedar, because he says it's perfect for Spanish music, because its tone is quite dark, a bit croaky, in the treble register it is a bit thin and slight, and because when he plays, the rather featureless top has a slight orange tinge. On he the hand, the light yellowish colour of the top at 0:16, when he lifts the guitar, suggests spruce, but it might be just bad reflection. It's not so easy to tell by ear because, as a promotional instrument, it must be a new guitar still not broken in. Now as I listen to it for the third time I'd vote for cedar. Very dark and a nasal in some registers. Nice resonant tone in the middle register. Cedar is used traditionally in Spain for guitar tapas (tops), because cedarwood is readily available in Spain.
Hard to tell... Colour-wise it looks a lot like spruce but the sound is 100% that of a cedar guitar. So if I had to go for one I would guess cedar, espacially knowing that Lucas & Hanson use quite a light coloured finish on their cedar tops.
@@johnconway82 I think David Russell has a phenomenal interpretation. Though, Segovia is THE person who made the classical guitar household name. He is the Einstein of classical guitar so to speak ;)
Speeds up too much at critical times. Segovia has no peer because you were shown his entire life in a piece like this. This performance lacked emotion. Wonderful technique, not enough soul!
I really like David's pacing at the opening - I think that he now plays with the music stand can seem to set a barrier between him and the audience. But I hear plenty of expression in his playing (usually I'm not a huge fan of his Albeniz) Check my video out of it too, you may like it
@@mattbacon285 I checked out your version of the piece. I didn't care much for the transcription or the flashes of attempted bravado in the piece. David Russell does a much better job. My favorite performance of the piece is done by Kyuhee Park. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-n2qnbr_Q2Bs.html
