Hi Jaxon, I am very happy you enjoy this unique ToneBase production at my home. Well it’s about what we can consider as playing Chopin if we were pianists. Tárrega was a trained pianist and he genius is that he succeed in recreating this unique and touching spirit on the guitar. Both in his performance and his composition. I can’t get tired of performing his mazurkas in my entire career. All the best for the New Year (with new La Leona videos…) Wulfin
It's not just the attack on the strings or the hand position but also the fact that Tarrega played latter in his life without nails (the sound changes completely, the piercing attack is gone) and the Torres was gut strung (a completely different touch and sound).
Dear Bruno, I do agree absolutely. Still let me remark, that once we go back to the original form of his artistry we have to awake and kind of rebirth what we have enjoyed and learned with our own words and visions. Otherwise we would only need to listen Tárrega’s own recordings and interpretation (if they ever would exist) and art stands still. This is the challenge of all classical (notated) if we want to keep its masterpieces alive. My very best regards Wulfin
@@theodosios2615 well, it’s all possible, see Brandon Ackers video on that matter. Ok,if you are curious, go for it and don’t hestitate (nails will grow again!). But still, if you are not absolutely sure…WHY? Only nails off is not enough: gut strings, old guitars or replicas and a lot of stylistic and, in consequence, technical readjustments…. Ok I do stop! Good luck Wulfin
@@theodosios2615 Tarrega had 2 years to reajust his technique. Pujol met him after his 1st no nails recital. After Segovia it became rare to find no nails guitarists. For a no nails modern practice check Tommy Emamuel, steel strung guitar well amplified, not classical music.
Thanks for all your enthusiasm and great comments! YOU ARE MORE THEN 100k! I had never expected such an an incredible amount of reactions on such a rare matter as performing some apoyando on an old guitar… Since I was so overwhelmed I took care to answer on many comments and got in to extended conversations. As I had stated repeatedly, this is all about art. And art is insight - and insight is love for life. I am looking forward to the ongoing exchange of ideas and I am planning some more publications on La Leona and the art of guitar performance. All the best for 2023! 🎉
Even as someone who knows absolutely nothing about playing guitar I found this very interesting. Your passion and love for the subject is clear as day and it is clearly a very special instrument too. Thank you for sharing!
Mein lieben Herr Wulfin danke schön for sharing this amazing piece of musical history with us. You're knowledge is pretty amazing, but I guess it's expected from such a reformed lover of art.
@@CaptainPupu Lieber Captain, you put your compliments in wonderful words - thank’s a lot! Yes, art is more than plucking some nylon or animal strings. We get an inner emotional impact from the beautiful sound of the instrument itself. This inspires us to create a vision on the music with this sound. Then “plucking&grabbing” is guided by our brain and once we hear the result we counter check it with our initial vision how to perform. It’s a circle within microseconds, the faster and precise this works, the better. Well that’s it, couldn’t put it into easier words, sorry. Best regards Wulfin
This is absolutely priceless for so many reasons, for musicians, historians, guitar makers, everyone. Thank you so much. I'm not surprised that the lightly constructed but larger bodied Torres guitar sounds better at a slightly lower pitch.
I love Tarrega and this guitar. A few historical errors were made in this video that warrant correction: -The lute right hand position was thumb out (like guitar) for 200 years (1600-1800) which leads directly into classical guitar. He is referring to renaissance lute pre-1600. Common misconception. -Lutenists often used nails in the Baroque period too. - About historical pitch, read "the story of A" by Haynes. Pitch was relative until very recently and people played higher and much lower than 440 for most of history. - You are using synthetic strings and it would be lovely to hear this instrument played with gut as Tarrega would have heard it. It's a shame modern guitarists never experiment in this way. Edit: I don't mean to attack anyone. I like the video and the artist here. I'm just adding corrections to some common misconceptions.
Nope , the never used nails , BTW, you video talking about how beautiful a guitar can sound without nails almost got me a heart attack, because its simply BS..
How did I know Brandon was the author of this post? Great insight as always! I was actually thinking of you when I got to the part about gut strings then saw your name. Thanks!
Dear Brandon, thanks a lot getting into detail. My motivation to perform La Leona since about 1990 more than frequently was both to unlock the secret and to understand the genius concept of its construction and artistic utopia. So after establishing a repertoire of “early music”, such as Francesco da Milano, Luis Milan, John Dowland I was aiming to find new visions for interpretation Bach on the guitar, finding out that for my standards Torres is nirvana. Well finally I ended up performing almost any kind of repertoire including most of my own compositions. It’s the absolute and uncompromising quality of the musical diction which is unsurpassed. No matter if I use gut or nylon string, with or without nails, or 415 or 428 (as I do). It is more about inspired than about historical correctness. And want I learnt with the 1856 Leona I can take to Santos, Hauser guitar as well. She is my best mentor and musical ear-trainer. My compliments for your channel, Brandon and all the best for 2023! Maybe we meet sometime/somewhere Wulfin
My lord; I am a guitarist from Seattle and I grew up listening to and learning Jimmy Page, Brian May, Jeff Beck, etc... Of course any guitarist is aware of the words "classical guitar." But i have never heard a story of a young man in Spain in the eighteen hundreds making the guitar his passion and livelihood in this way. I'm just floored. And thank you so, so much for posting this. P.s., Jesus, as i
P.s., I apologize for abruptly abandoning my previous message, Wulfin. I believe I was going to elaborate upon the grace and ease with which you share such wonderful swaths of knowledge regarding not only the whole of the guitar but that particular instrument that was crafted in the 1800s and that you've owned and performed with over the course of the last thirty years. Your mini documentary, my friend, has reignited the passion that I first felt as a child in the early seventies here in Seattle when I would sit out on my small family's back porch as my mother sang and played at the Maple Leaf Tavern across the street from our home. Elvis Greatest Fifty Golden Hits vinyl LP was the first time I was truly moved in an emotional way by listening to the playing of a guitar. I'd no idea who Scotty Moore or James Burton was. But I had 24-hour access to my mother's nylon stringed guitar, and I learned to tune the instrument by ear, of course, as there was no tablature in the back pages of Guitar Player Magazine. But I spent many an hour reading interviews with Julian Bream, Tal Farlow, Paco de Lucia, Lenny Breaux, Andres Segovia, etc. I'm sorry for rambling. It's been such a pleasure being sent upon this thrilling hunt for knowledge so new to me. Thank you very much.
Dear Peter, I am the guitarist speaking…😅 thanks for your compliments! I am aware of many grammar mistakes, still can’t reflect on rules whilst talking. Great that anybody seems to have gotten the message…upppps. Wulfin
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This guitar is an amazing piece of history - not just musical history - and it's so good to see you are preserving it for posterity. Thank you very much for your lecture, insight, and demonstrations!
Wow! What a pleasure to hear you describe all these subtleties related to the Classical guitar as well as this genius composer. Thank you for this very informative video.
When I studied guitar at uni I had an opportunity to play a violin (Strad) which was apparently used by Mozart. I was the worlds shittiest violinist, but stoked none the less to touch such a beautiful instrument, gave me shivers. Playing Tarrega on his own his guitar is legend in the same league.
Thanks a lot Gordon, I have some great guitars such as Santos Hernandez but Torres is the goddess and La Leona the culmination of art. Almost no more guitar…
I might not be able to comprehend all the content in the vid, but it certainly tells me the classical guitar platform we had today are built by musicians, guitar makers back to 18th centry. great sharing
Spanish guitarists/composers are the best! I absolutely love Spanish guitar! Very interesting video about instrument construction and technique! One can really hear the difference in technique! Excellent documentary. I'm going to have try to find some of this music on lute which I also love and maybe oud.
Dear Brahim thank you for this great and charming compliment! Did you notice that there is a lot more of my playing and talking about music in the net? Best wishes Wulfin
As a very young and very amateur violin student years ago I could only dream of playing on a quality instrument. My parents could neither afford private lessons nor a quality instrument. It would have been much the same if I had wanted to study classical guitar. I gave up the violin to study architecture and I deeply regret not taking up the guitar at an early age. I have been enjoying the works of the many Spanish composers and the many professional musicians who perform their works worldwide. I enjoy these performances immensely. As an architect I was intrigued by the architecture and engineering principles of the design of the Tarrega guitar, and that of others, for that matter. Your discussion of the length of strings, the dimensions and volume of the body and the picking styles and how these things effect the sound is very informative. I did not hear anything about the wood or the string materials but that's another variable. I don't know if Tarrega's guitar or any other can be compared to "Paganini's Guarneri Canon" using these same criteria. However, I am certain that the performance room or hall acoustics would have a lot to do with the overall perception of the sound. A poorly designed concert hall would have devastating effects on any performance no matter how gifted the performer or the quality of the instrument. I have noticed that many artists today perform and record in ancient buildings with cavernous spaces and hard surfaces that can reflect or reverberate the sound. A mixing engineer can mitigate the acoustics of performing in these spaces but a live audience experience would be totally different in my opinion. I have always believed that a good architect orchestrates his designs in the same way that a good composer builds a symphony or a concerto. The same is true about a master craftsman constructing a fine instrument or one a fine piece of furniture. It's all about the principles. My apologies for the lengthy comment!!
Dear Godfrey, your comment is fantastic, thanks a lot! Considering the materials La Leona has a European spruce top and fanstrutting, cypress sides and metallic tornavoz. It has a weight of some 1000 grs with modern machines by Rodgers. I would like to send you a PDF - so if you like to contact me via my website, please feel free to to so and I can send you some more informations. Best Wulfin
Primer anglosajón que veo en youtube hablar con propiedad y verdadero conocimiento sobre la guitarra y su historia, nombrando por supuesto a Francisco Tárrega. Thank`s very much.
Thank you Herr Lieske for this fantastic video. I came across Tarrega for the first time almost 22 years ago when I first started studying the Classical Guitar and immediately became a huge fan. I appreciate you differentiating the right hand playing styles between him and Sor. I always thought that it was a bit uncomfortable playing the right hand style of Tarrega but when you put it into the context piano playing it made much more sense! Thanks and looking forward to your other videos!
It is the first time that I learned why rest stroke was an important part of our skillset. I always imagined that rest stroke is some kind of bridging technique to let newbies (like me) to learn to pluck the strings Now I understand, and I will incorporate more of them into my daily practices
Thanks a lot Ronald! Yes, it was a great pleasure producing this tutorial and I was overwhelmed by the immense enthusiastic response I have got. Well, I am going on with this matter…have a look around! Best regards Wulfin
Yes!! I play Western and telecaster most the time. When i check any guitar never look at the price or name. Just play any favorite chords of mine. That's it for me. The first moment gotta chill me.
Hi to all the aficionados out there, I would like to post some ideas on sound aesthetics of the classical guitar. Reacting on the entire bunch of your great comments, be them enthusiastic or critical, it’s about tuning, strings and nails. If you play on an Torres type instrument, low weight, low resonance and tune it around 430-435hz, perform romantic music with the “spirit of Tárrega (as I exposed in my substantial ToneBase tutorial, you will have a pretty dark and expressive melodious sound. This will be enhanced by the typically low string tension and action with very easy vibrato, slur, glissando. In my experience this goes perfectly on standard top quality nylon strings. I use SAVAREZ cristal, alliance (only for the 3rd) and Corum standard tension. Maybe you are a bit closer to gut with the good old Jimi Hendrix, sorry Segovia Red Augustine. Nylgut is another cup of tea (better no nails). If you have the right attack both apoyando and tirando (like John Williams for ex. ) and the equivalent perfect nail shape YOU ARE ON THE GOOD SIDE! If you are a nerd burning for authenticity or new adventures cut them off, get the expensive gut (great animals, though!) and here we go. That’s the good thing with all the crazy guitar folks around the planet, lonesome nerds at times - BUT HAPPY! And that’s how this great platform ToneBase and others can exist and are such valuable contributions to our “lonely heart-club-band”. Here we go, thanks for your patience and passion! Have a nice day/night Wulfin🎉
@@WulfinLieske I liked what you said about the gold tone and silver tone of the different 'A' pitch 428 and 440 tension difference and effect on the timbre.
Interesting technical analysis of guitar tone & playing technique. 166 year genuine Tárrega guitar still looks spotless, immaculate! A guitar collectors dream...priceless!
@@WulfinLieske No problem Wulfin & to your question @ 08:36, Yes...'pinchy' is a word in English but it is more associated with the 'pain' of being pinched (ouch!) but also used by guitarist in pinching the strings...lol!
HinDanny, great you enjoy it! In fact La Leona never belonged to Tárrega (nor Julian Arcas, whom Francisco Heard- performing on La Leona). Torres kept it throughout his entire life.
Thanks a lot Anthony! There will be a new series THE LEONA DIARIES on my RU-vid in September. Leona is not only good for Tárrega - you will see… best Wulfin
It's extremely interesting to many who hold stringed instruments for 100's of hours. Besides hearing an historical guitar! . It's a fabulous informative video. " pinchy" yes it works. It's a word!
I talked to the Argentinian guitarist Rolando Saad after a concert about his guitar, a Fleta. He played with his fingertips, not his nails. It sounded very good. I bought his CD, A Celebration of the Spanish Guitar. The recording has a very warm sound.
Having been taught the Tarrega’s concept, decade after decade, I gradually and intuitively moved to the lute concept, going through all the intermediate concepts you showed. Oh if you have taught me this precious lesson 40 years ago!
@@WulfinLieske Hi Wulfin, I think the lute concept will be my favourite one the next 20 because I love the soft and sensual way of playing the guitar. For this purpose, I also gave my guitar (cedar top and Brazilian rosewood back and sides) to a luthier to have its nitro finish replaced with shellac.
@@alexbychkov4485 Great Alex! (My second forename is Alexi!!!). Quite a treat to get rid of the synthetic varnish... Next step is playing lute! Seriously: I have no problem with playing softly on one of my Santos Hernández. Sul tasto and not too strong + vibrato if desired, here we go. By the way, what is your current repertoire? Best Wulfin
@@WulfinLieske Hi, nice to hear you again! It's a completely sudden but interesting offer to play lute. I'm gonna think on that. Is it a great difference for your feelings when playing the same piece on the guitar and on the lute? What do you thing about playing guitar lute? My repertoire is simple but soulful music such as Tarrega, Bach and my own compositions. I compose love songs for my wife also. She loves them very much.
Let's hear it with gut strings! I've noticed a big difference in sound between nylon and gut. To hear it with gut would bring us so much closer to the sound-world of Tárrega.
Hi Jeff, thanks a lot for your interesting question. In fact I had recorded my CD “El Canto de La Leona” with gut strings by SAVAREZ for 1st and 2nd. The remaining strings are SAVAREZ corum. I have experimented a lot with gut strings entirely. I recognized a slight profit for the trebles, but only for a few days since they do not like nail attack and start to fray, getting pretty rough and break. So I decided for entire stringing with SAVAREZ Cristal and Corum. The unique quality of La Leona remains in a slightly different shine but artistically absolutely convincing. Especially when tuning down to 428Hz and performing in the style of Tárrega. Finally we do not aim to go back, but to bring him into our present time keeping up with his style and spirit. La Leona has the chameleonesque ability to serve for many styles, even in the field of contemporary music. With my very best regards and all the best for 2023! Wulfin
@@WulfinLieske Your definitely right about gut strings getting chewed up quickly by nails. It is unfortunate because they are so expensive. When I first tried gut, I had long nails and that didn't work at all. Now I have short nails (the nails do not go past the end of the fingertip) and the tone is much better. Not sure if the string longevity is improved at all. I recorded a CD of Regondi on an early Romantic guitar. My intention was to use gut, and there is a fine maker of gut strings less than 3 hours from where I live. But I ended up using Aquila Ambra 800 strings. The trebles are Nylgut and the basses are rayon-core to simulate the silk-core strings historically used. Aquila also makes the Ambra 900 set, which is intended for Torres-style instruments. I also have a replica of Tárrega's Torres SE114, and I recorded some Tárrega on it with nylon strings. I have since put gut strings on that guitar (with the Aquila 900 rayon-core basses) and plan to re-record those pieces so people can hear the difference. All the same, thank you for your nice video!
This is so cool I’m always curious about what happens to famous composers’ instruments after they pass. I guess most of them just stay in the family locked up in storage
Dear Viangalli, yes that’s true, still there is no such ONE truth in art. Otherwise we would only list men to Rachmaninov playing Rachmaninov. Transformation ist the goal. So even with nylon you can bring your guitar message out. This is in no way ignorant if we know the authentic thing but we transform it to what we feel appropriate today. Bed Wulfin
There is fascinating information here. Thank you very much for putting this up. I know it is a long debated subject but can one come close to Tarrega’s sound using the attack you describe but with nails. This has probably been asked many times but I am only a few years into learning the guitar and have only recently been introduced to Tarrega Preludes by my teacher :)
Hi magenta, I take this as an compliment! Thanks! For the lyricism of Tarregas music it is not too strange to explore his way doing it. If you manage his espressivo your are ready to use it for Villa Lobos and Henze (or Lieske) as well. Best Wulfin
The idea of just changing the resting knee to change the attack...Wow. I had to get my guitar and try....not even going to try to hide how blown my mind is.
Hi XZ, yes it’s awesome how little things are connected. We tend to explore micro details of movements without regarding the origin. But this can be changed and happens in the brain first. So my congrats you got it! Best Wulfin
Reminds me of the "Beatles" song "Blackbird". What a wonderful presentation. I'm jus a poor man but somehow this little piece of knowledge makes me feel "sophisticated" Thank you Wulfin !
La Leona is my favorite guitar by my favorite historical maker (I even have torres’ headstock tattooed on my forearm). Curious why the title indicates it was owned by Tarrega when it was Torres’ personal guitar and one of a dozen or so in his possession upon his death in 1892
Dear Brian, in fact the chapter title should be corrected - Tárrega played but never owned it, the same as for Julian Arcas. But La Leona was THE guitar Torres never sold and kept as his first genius reference during his lifetime. Best Wulfin
@@WulfinLieske Thanks for your reply maestro! If I recall correctly Arcas attempted to purchase La Leona many times but Torres would only loan it to him for performances rather than parting with it. I hope one day to see you perform on this guitar in person
Consider also aging of the wood, finish, and glue. Others have noted the gut/nylon string factors. It's also interesting to ponder how people of that time would have heard this instrument, not being conditioned as we are now to so much noise from machines or expectations due to the necessary limits of electrical transmission and reproduction. The consider the sort of situations where one might play for others. Indeed, it's not the same home.
Dear Rabakarabe, thanks a lot for your very sensible and attentive comment. No matter how the mainstream is pushing we are free to choose our own way. Best regards Wulfin
So long ago now... Daphne Dobson taught me some of this stuff in New Zealand. Where she got it...? I know she was a student of Segovia, but where else, of whomever else.. I never found out.
I thought I recognised the face. Wolfin Lieske, older, more mature after all these years. Live recording was my passion at the time, and I recorded him at the VII Bolívar Hall International Guitar Festival, Venezuelan Embassy, London, 2003.3.26. I still have the recording after all these years on CD Rom, unfortunately, the encore piece he played is now unreadable, it was "Manha de Carnival". Great playing! I remember there was a great debate on "Classical Guitar" magazine in the mid 70s, on who owned the "real" La Leona guitar. Interesting.
Hi Dan, great to meet again! Unbelievable you were in the Bolivar Hall. What are you doing today? Besides guitar I am very much into opera composing...best Wulfin
@@WulfinLieske Hi Wulfin, how nice you still remember me. I retired as an aeronautic engineer 15 years ago, wrote my autobiography (in Chinese), got it published in Beijing in 2016. These days, I am writing a second autobiography. I have a small apartment at the centre of Sevilla for almost 20 years. Now in Sevilla with my wife, back London in early February. I watched a number of your videos on RU-vid a few days ago and I can see that you are keeping yourself busy not just as a performer, and indeed as a composer. In fact, I listened to your Bolivar Hall concert from start to finish a few days ago. You take care!! Wishing you a long and fruitful career.
@@daning9456 dear Dan, thanks a lot! Great you got back to my recital at Bolivar Hall in London some 20 yrs ago! By the way: where did you find the recording, I never heard it. Best regards Wulfin
@@WulfinLieske Hi Wolfin, each time I did a recording at the Bolivar Hall (or Instituto Cervantes), I made something like a dozen copies on CDRom to the then Cultural Attache, Gloria Carnevali (she now resides in Cambridge). It was my impression that she would distribute these copies, including to the performer. A few months ago, I started archiving these CDRom and transferring them into my computer hard disc. Then, I realise that some CDRom are no longer playable. In your case, only the encore piece is corrupted. If you like, I'll try to make a copy of the concert for you when I'm back London. Best, Dan.