J.S.Bach: Courante from Lute Suite BWV 995 Triple-double-single course guitar

J.S.BACH, COURANTE FROM LUTE SUITE BWV995: Originally for lute, suite BWV995 by J.S. Bach is transcribed and interpreted by Smaro Gregoriadou on a triple-double-single stringed guitar in re-entrant tuning (WORLD PREMIERE), representing Kertsopoulos Aesthetics*. Live in Greece, Horto village music festival, 22/8/08. REINVENTING GUITAR! *KERTSOPOULOS AESTHETICS: Guitars, strings, acoustic applications of evolved specifications, a 30-year research on history and æsthetics of guitar, accomplished by Greek guitarist-maker Yorgos Kertsopoulos and involving numerous suggestions on interpretation of old and new guitar repertoire, as well as transcriptions from other instruments to guitar. Since Æsthetics' first presentation in Athens, 1994, by their inventor, numerous astonishing innovations have enriched inventive guitarist's sound, recreating 500-years of beautiful guitar tradition: high-pitched, transitive and re-entrant tunings up an octave higher than the ordinary, double and triple-course stringing, tone-colour's diversity, access to unexplored tonalities, pedal mechanisms! HISTORIC EVIDENCE: In 1948 Andres Segovia introduced the nylon string aesthetic of A.Augustine. The classical and flamenco guitar enjoys this aesthetic for more than sixty years and guitarists of such a worldwide prestige such as Julian Bream, John Williams, Alirio Diaz, Abel Carlevaro, Dimitri Fampas, Gerasimos Miliaresis, the Romero family, C.Parkening, A.Lagoya, I.Presti, L.Almeida, Evangelos & Liza, C.Kotsiolis, Roberto Aussel, R.Dyens, Paul Galbraith, Paco de Lucia, P.Pena, C.Montoya, Sabicas, Serranito (just to mention a few of these astonishing performers), play with great success the Segovia-Augustine aesthetic which has total acceptance today. Now, A.Barrios and H.Villa-Lobos played with metal strings while D.Prat, A.Lauro, F.Tarrega, R.Montoya played with gut strings. At the time of M.Giuliani, M.Carcassi, L.Legnani, F.Carulli, F.Sor, D.Aguado the guitar was strung with metal, gut and silk strings and had either double courses or single strings. Also further back in history G.Sanz, Bermudo, Brescianello played the guitar in higher pitched tunings and the triple strung guitarra battente was popular mainly in Italy. Y.Kertsopoulos introduced in 1994 the Kertsopoulos Aesthetics which as a multiplex open architecture scheme provide the possibility of reviving and realizing the many aspects of guitar's aesthetics, as they have been recorded in history. Among many guitarists that play the aesthetics today, Smaro Gregoriadou has made many succesful first world presentations of different aspects of aesthetic styles in guitar interpretation, being the official artistic representative of Kertsopoulos Aesthetics worldwide.

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Category:

Music

Tags:

• Bach
• Courante
• Lute
• Suite
• BWV 995
• Triple-double-single stringed
• guitar
• Gregoriadou
• baroque
• classical music
• musical instruments

[ecomparone]

This is gorgeous playing on a fascinating sounding guitar. As a non-guitarist I can't appreciate what you've done to "re-invent" the instrument. But I can appreciate the beauty of the interpretation and the skill of the performance. Thank you!

[sgregoriadou]

@ecomparone

Many thanks for your nice words.

All the best

Smaro

[DuoContinuo]

This guitar produces a splendid spectrum of overtones.

But there is an alternative and wellknown way to this effect, take a lighter construction of the body, string tension of about 4 kp and a mensura of the bass strings of 1200 mm (or more), reentrant tuning of the first or first two strings (otherwise they would break) and movable frets (for more natural temperaments).

You will end up at the Theorbo (single or double strings, a secondary question) ...

kindest regards - Siegfried

[sgregoriadou]

1/2 Hi, your remarks reveal a genuine seeker!

When certain lower strings were tuned at a higher pitch than the upper ones so that the open strings sequence didn’t follow the low-to-high pattern across the neck then we traditionally speak for a reentrant tuning, no matter if both strings of a course, or alternatively only one -and this is often misunderstood- were differentiated so as to sound higher.The reentries of my guitar come in 3rd & 6th courses, breaking quite clearly the symmetry if you

[DuoContinuo]

Hi,

like your interpretation!

however, please explain a theorbo player, where is your reentrant tuning?

if the player plays duble or triple strings (with octaves or in unisono) and also from the fingering, i can not detect a reentrant tuning. you are playing a "normal" tuning with octaves as in the renaissance and baroque lutes (vihuelas, archlutes, liuto attorbiata) but not a reentrant tuning as it is defined (theorbo, baroque guitar, ukulele).

kindest regards from Berlin - Siegfried

[sgregoriadou]

2/2 play openly.They aren’t easily perceived compared to a single-str. instr. like uke or Yepes 10-str. guitar but they are there! (Details at my site). Also, in Bach I try for a clear voicing, avoiding useless perplexity that would show off the reentrant character but obscure the lines. As to the alternative you mention it’s a matter of taste, intentions & approach. Last, for me the decision between double or single strings is indeed a major, not a secondary question!

All best

Smaro

[Simonsguitar]

Very nice. Thanks.

[recorderson]

Awesome as usual ! Thanks for posting ! 5*****, 2 times ! Ernesto

[curieuseaucanada]

Very good. I love Bach. And you interpret him so well. Thank you!

[GodLight88]

encore I love it

[sgregoriadou]

Hi, Lorean.

My best from Greece!