The element of surprise is mostly conveyed through the psychological toying with expectation between the phrase parts and or the phrase.You never surprise here and that is a death sentence for the charm of this music.
Nobody in the 19th century played chords unbroken as you do.You must break them and vary the breaking of them from subtle breakage to wide breakages to underline the polyphony which gets buried under your modern block chording.
He does not get how to express call & answer structures in this style.
First make a statement at a certain tempo and color,hesitate as you wish...then respond in a different tempo & color.Make sure each part has a clearly dilineated heirarchy through time,dynamic,color,and articulation.
@smithsherman I agree with you that this music is rarely understood. But I think you codify your ideas a bit too much. One should research all the expressive elements that Sor and Giuliani used (and not just those in guitar treatises either!).... But for me, once these techniques (the 'what') have been incorporated into one's technique, their actual use essentially comes down to the individual's fantasy, within an understanding of style (the 'why'). None of this 'thou shalt' pedagogy for me.
@LutenistDeMari A Musician should always know how he wishes to interpret a piece in his/her next concert. But a musician who 'knows' how a piece 'must be played always' , to me is a boring musician, even if they play expressively. Dogmatism only leads to the kind of stagnation that made 'Historically Informed Performance' a breath of fresh air in the first place. To be a confident musician on the concert platform, but to always be questioning in the practice room: That is a good musician.
If the early music people have done anything right, its to reject dogma, not embrace it, and to turn instead to questions rather than answers. A revival of the idea that a musician is learning until the day he dies, not until the day he finally gets a lesson from a 'Great'
What insturment is he playing here?
yert2006 4 years ago
The element of surprise is mostly conveyed through the psychological toying with expectation between the phrase parts and or the phrase.You never surprise here and that is a death sentence for the charm of this music.
smithsherman 4 years ago 62
Nobody in the 19th century played chords unbroken as you do.You must break them and vary the breaking of them from subtle breakage to wide breakages to underline the polyphony which gets buried under your modern block chording.
smithsherman 4 years ago 62
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@smithsherman
I completely disagree. In the 19th century block chording was the normal way of playing.
Daan01 1 year ago
He does not get how to express call & answer structures in this style.
First make a statement at a certain tempo and color,hesitate as you wish...then respond in a different tempo & color.Make sure each part has a clearly dilineated heirarchy through time,dynamic,color,and articulation.
smithsherman 4 years ago 62
Comment removed
alimacdee 2 years ago
@smithsherman I agree with you that this music is rarely understood. But I think you codify your ideas a bit too much. One should research all the expressive elements that Sor and Giuliani used (and not just those in guitar treatises either!).... But for me, once these techniques (the 'what') have been incorporated into one's technique, their actual use essentially comes down to the individual's fantasy, within an understanding of style (the 'why'). None of this 'thou shalt' pedagogy for me.
LutenistDeMari 10 months ago
@LutenistDeMari A Musician should always know how he wishes to interpret a piece in his/her next concert. But a musician who 'knows' how a piece 'must be played always' , to me is a boring musician, even if they play expressively. Dogmatism only leads to the kind of stagnation that made 'Historically Informed Performance' a breath of fresh air in the first place. To be a confident musician on the concert platform, but to always be questioning in the practice room: That is a good musician.
LutenistDeMari 10 months ago
If the early music people have done anything right, its to reject dogma, not embrace it, and to turn instead to questions rather than answers. A revival of the idea that a musician is learning until the day he dies, not until the day he finally gets a lesson from a 'Great'
.
LutenistDeMari 10 months ago
great piece by Giuliani and Starobin is the master!
mars7272 5 years ago