Russell set a new benchmark in Baroque music on the guitar: the crisp cross-string trills (neither Williams nor Barrueco did or do them, but they are now quite commong among the younger guitarrists), the extreme care and attention towards the counterpoint and polyphony and a very well-rounded, crystal-clear, marble-solid sound.
@@ytg6352 Absolutely! There is (without any intention of diminishing their fantastic accomplishments) a new standard (exactly the one you said Russell set some 30 years ago) in Baroque guitar performances, a swerve away from Segovia--Bream-Yepes (and also from Parkening ' superb - albeit romantic - Bach performances and John William's note-perfection of the Bach suites and other pieces) traditions. One sees this in the newer generation of superb players (and true masters) such as Paul Galbraith (Brahms guitar, 8-string), Sanel Redzič, Marcyn Dylla (his recent BWV 996), Stephan Schmidt (10-string) and others. I should also mention Goran Schollscher from Sweden on the 11-string and Herbert Kappell (who transcribed a Bach keyboard Partita). A different kind of thinking regarding counterpoint (aiming at keyboard like clarity, but with the warm color palette of the guitar), ornamentation (the crisp cross string trills) and also new transcriptions of work (include Bach keyboard partitas and other works, Handel keyboard works, a host of Scarlatti sonatas and other composers). In this sense, one can clearly see an evolution in guitar technique which is exactly that new standard influencing the latest generations of classical guitar players. Like Segovia's "Chaconne" Russell marks the "Beyond-the-Chaconne" era of Baroque performances on the guitar.
Have you heard Presti and Lagoya ? Ida Presti trills are cross the strings and David admitted himself he tried to emulate them. And also they transcribed for two guitars (Lagoya did the transcription to be exact) the allegro part of the suite by Handel from which this Passacaglia is and David heard it too
This is the last part of: Georg Friedrich Händel: Eight Harpsichord Suites (1720), Suite No. 7 in g-minor, HWV 432, consisting of Largo, Andante, Allegro, Sarabande, Gigue AND Passacaglia.
can't stop my heart pumping crazy when i listen to this! im learning easier version of passacaglia right now but i would love to try this version eventually
The guitar music plays a classic harmonic progression I-IV-V(I) PASSACAGLIA. The result is its smooth melodic flow of the music. The tonal sound is rich in pitch, quality and modulation. For those with perfect pitch are able to write out each note in this guitar piece. Very beautiful guitar melody and a good lesson to learn and understand better the method of 'Passacacaglia' as applied by many baroque & classical composers. Many thanks for this opportunity to understand better the technique and appreciate better the listening of classical music.
No es sólo la técnica perfecta, es también la manera de cogerle el ritmo a esta maravillosa pieza; me recuerda tanto a mi admirado paisano Esteban Sanchez..
¡Qué fácil es, escuchando este genio, entender que los dioses nos visitan para aliviarnos el alma! Yo, eternamente agradecido de por compartir el planeta con este Orfeo viviente. Paz a todos.
Thank you so much for this masterpiece, what a great performance. In this time of Corona mass psychosis and state terror against people who are fed up with government lies, abuse of power, corruption and cencorship it makes life at least a little easier in this difficult days.
la transcripcion completa de la suite VII está publicada, yo la compré por internet, y realmente vale la pena hacer la inversión, la transcripción es del mismo david russell, y como siempre va a ser uno de mis interpretes favoritos del barroco...
David Russell is amazing and this piece is incredible. l love him. BTW who are the six prats who pressed the dislike button? Clearly no taste or brains.
Hi, I love this version very much! I played this with my friend on violin and viola. Anyway this sound much more autentic (even originaly not for guitar)! Bravo!
Assim como os Abreus foram insuperáveis em Duo e em solo no que se propuseram e transcenderam o violão, Bream trouxe vida à Aguado e as peças Espanholas além de Villa Lobos, David Russell fez pelo Barroco é insuperável, tendo somente Parkerning como páreo.
