2011 GFA
Che
fol...@yahoo.com
> http://gtrfound.wordpress.com/
Finalists
Programs
Vladimir Gorbach (Russia)
Domenico Scarlatti: Sonata K 178. Sonata K. 239
Mark Delpriora: Prelude and Fugue,
from Variations on a Theme by Fernando Sor
Astor PiazzoIla: Primavera Porteña (art S. Assad)
Miguel Llobet: Variaciones sane un tema de Fernando Sor, Op. 15
Andras Csaki (Hungary)
Johann Sebastian Bach: Prelude BWV 1006a
Mark Delpriora: Prelude and Fugue,
from Variations on a Theme by Fernando Sor
Joaquin Rodrigo: Fandango
Mauro Giuliani: Rossiniana No. 3, Op. 121
Damien LanceIle (France)
John Dowland: Fantasia Op. 71
Mark Delpriora: Prelude and Fugue,
from Variations on a Theme by Fernando Sor
Dusan Bogdanovic: Sonata No. 2 (Allegro demo e appassionato, Adagio
molto espressivo Scherzo malinconico, Allegro ritmico)
Mauro Giuliani: Variations on "deli! calmo oh ciel" from Rossini's
Othello, Op. 101
Jeremy Collins (USA)
Jeremy Collins: Elegy
Joaquin Rodrigo: Junto al Generalife
Mark Delpriora: Prelude and Fugue,
from Variations on a Theme by Fernando Sor
Sergio Assad: Fantasia Carioca
Che
Yep, I was curious to hear what was said with regard to your "Prelude
and Fugue". Then again, after seeing the limited responce to your
"Tree of Life" post, maybe the most intersting post this year, I
didn't expect much. Interestingly, T. Malick filmed it about an hour
north of here in Smithville, TX in 2008. In fact, he lives in Austin.
Also interesting, Gorbach paired Llobet's "Variaciones sane un tema de
Fernando Sor, Op. 15" with your Prelude & Fugue, smart move.
fol...@yahoo.com
been thinking about it a lot.
It's one of those films. like Eyes Wide Shut, that might be too much
for the average movie goer.
It was really interesting to hear 4 extremely high level performances.
Each different.
Of the top 2 prizes Andras Csaki (Hungary) played it at a great tempo.
The ending had the monumental feel I wanted. Although none used thumb
sweeps for a forte or rest stroke in the thumb on a particular note,
when the higher string allowed such a thing, in the final chords.
The first prize winner played the Fugue with lots of inventive
articulations but the final chords went down to piano when it is
clearly marked forte.
Damien LanceIle played an extremely poetic Prelude and I loved his
program!!
Your are right. The Llobet was good move.In my dreams, a CD with the
Llobet and my piece be perfect. But I think that will be a long time
coming.
.
Che
> The Tree of Life is one of those films that stays with you. I have
> been thinking about it a lot.<
Malick is always asking the same question in his films, "Why are we
here" and dealing with guilt. When Larry was having his troubles with
Segovia his father asked him to go "help" him. Terry, refused to go
and his father went. Of course Larry was dead before he got there.
Also, his other brother, Chris, was badly burned in a car wreck that
killed his wife. We get his idealized mother's exhortation "to help
people."
> It's one of those films. like Eyes Wide Shut, that might be too much
> for the average movie goer.<
Sorta' like a Thomas Pynchon novel. Hell, the music is worth seeing
the film . . . there's not that much dialogue and it's a great period
piece....down to the curtain fabrics. The music is damned near a
harmonic convergence.
>
> It was really interesting to hear 4 extremely high level performances.
> Each different.
>
> Of the top 2 prizes Andras Csaki (Hungary) played it at a great tempo.
> The ending had the monumental feel I wanted. Although none used thumb
> sweeps for a forte or rest stroke in the thumb on a particular note,
> when the higher string allowed such a thing, in the final chords.
Brings to mind Segovia's "Granada" thumb's rest stroke on the second
string. Did you mark it as such?
> The first prize winner played the Fugue with lots of inventive
> articulations but the final chords went down to piano when it is
> clearly marked forte.
>
> Damien LanceIle played an extremely poetic Prelude and I loved his
> program!!
Yep, I like Dusan Bogdanovic's work.
> Your are right. The Llobet was good move.In my dreams, a CD with the
> Llobet and my piece be perfect. But I think that will be a long time
> coming.<
Yep, it's too long! :-)
Che'
> > Fernando Sor, Op. 15" with your Prelude & Fugue, smart move.- Hide quoted text -
>
> - Show quoted text -
fol...@yahoo.com
string. Did you mark it as such?
No I didn't... next time!
Yep, I like Dusan Bogdanovic's work.
> Your are right. The Llobet was good move.In my dreams, a CD with the
> Llobet and my piece be perfect. But I think that will be a long time
> coming.<
"Yep, it's too long! :-) "
It is long but so are the Brahms Handel and Beethoven Diabelli
variations... and that doesn't stop pianists (please, I am talkin'
duration and difficulty only)
If you heard the level of performances at the GFA you would see that
it is entirely do-able by the current generation.
I judged the Junior division and it was amazing. What the kids are
doing with ease is endlessly discussed with no results by the elders
here on this ng.
Douglas Seth
>
> - Show quoted text -
Yes, the level of playing happening with the young people today would
have been unthinkable not so long ago. I had the same experience
hearing a youth competition recently. At least on a technical level,
the guitar has caught up to other instruments. Even the average CGer
in the 21st century will have to be technically flawless with no
weaknesses in any aspect of their technique. The guitar has entered a
new age.
fol...@yahoo.com
Yes. In the near future, a John Williams level technique will be an
average technique.
Slogoin
> Yes. In the near future, a John Williams
> level technique will be an average technique.
As "experts" become ever more skilled we see fewer people making
their own music. Ironic Progress?
Must have been weird to hear a bunch of CGists playing your music
one after the other with different takes on what you wrote.
fol...@yahoo.com
Hi Larry,
I remember hearing Paul O'Dette say that in the Renaissance that
people that did not write their own music were amateurs by definition.
The professionals were the composers.
It was great to hear players of that quality play my music.
I am glad I didn't hear the preliminaries, where some 50 hopefuls had
to play it! The fugue is pretty tough.
Slogoin
>
> Hi Larry,
> I remember hearing Paul O'Dette say that in the Renaissance that
> people that did not write their own music were amateurs by definition.
> The professionals were the composers.
I bet people have made up their own tunes since music began. The
difference today is recordings, which killed live "amateur" music in
the homes of most people.
> It was great to hear players of that quality play my music.
I bet. Fun when they get something subtle and weird when they don't
something obvious.
> I am glad I didn't hear the preliminaries,
> where some 50 hopefuls had to play it!
But... can you imagine them all playing it together... sorta? :-)
> The fugue is pretty tough.
You didn't hold back. You sure can write and I hope you continue
for a long time.
Douglas Seth
>
> - Show quoted text -
In your opinion, what do you think is the biggest reason for the sharp
spike in technical ability seen recently? This isn't a loaded
question. I have my own opinions about this. The obvious one is the
level of teaching has improved so much, but the information age
(internet, etc...) certainly can't be discounted. The amount of great
information readily available now would have been unthinkable 20 years
ago.
thomas
>
> In your opinion, what do you think is the biggest reason for the sharp
> spike in technical ability seen recently?
I would have to credit Luteman's videos on youtube. Some of them have
views in the high three figures!
Che
> Brings to mind Segovia's "Granada" thumb's rest stroke on the second
> string. Did you mark it as such?
>
> No I didn't... next time!<
You might also consider making the following statement required
reading before the performance:
" The composer, Mark Delpriora, wrote the 'Prelude and Fugue, from
Variations on a Theme by Fernando Sor' for the guitar, not the cough,
so please get the latter over with before we start”.
> "Yep, it's too long! :-) "
> It is long but so are the Brahms Handel and Beethoven Diabelli
> variations... and that doesn't stop pianists (please, I am talkin'
> duration and difficulty only)<
We have our differebt views. In the past I mentioned two paintings by
Arnaldo Roche Rabell I had on either side of my bedroom door; "What
Should I Play" and "Don't Play My Song"... copies. Maybe more about
my reasons later, not that they make a hill of beans to anyone else.
Slogoin
> The fugue is pretty tough.
mm 106 is.... interesting. :-)
Andrew Schulman
> Brings to mind Segovia's "Granada" thumb's rest stroke on the second
> string. Did you mark it as such?
>
> No I didn't... next time!
>
>
BTW, unless you are referring to another spot, I think the rest stroke
was on the third string, the -e-.
Andrew
fol...@yahoo.com
In a nutshell: Good teachers, Parents that play guitar well and the
internet.
The junior and youth competitions at the GFA bring young students to
the convention and then they stay for the concerts.So they will have
high quality guitar playing in their ears.
I hope, in time, the "let your fingers do the walkin" style of guitar
writing goes by the wayside!
fol...@yahoo.com
second 16th is c sharp.
fol...@yahoo.com
would make a good debate.
If you look at the accepted masterpieces of the piano rep.
Hammerklavier, Brahms Sonata 3,
In variation form: Diabelli variations and Goldberg.
Perhaps one can argue that since the guitar has ,say, half the volume
and half the range of the piano than half the length of those
masterpieces is most reasonable.
But the guitar has all of those colors so add a few percentage points.
Didn't Poe have a theory about the ideal length of a poem?
Slogoin
Obviously. I like the section, the geometry of passages like this
makes anomalies like this easy to spot. You have a knack for weaving
these kinds of passages and I'd love to hear longer sections like
this.
BTW, I don't know how think like that piano player you mentioned at
the end. :-)
mata...@gmail.com
Indeed. Disregard the fingering. the pitches are correct.
MO.
Slogoin
>
> Indeed. Disregard the fingering. the pitches are correct.
The note should be C# no C natural. The fingering could work with C#
but I'd use the 2nd finger instead of the 3rd for the C# or C natural.
BTW I found two little things in Pick so far (I'm not done reading
it all yet). Do you have an errata web page for it so I can see if
they are known?
Che
Cactus Wren
Slogoin
> Didn't Poe have a theory about the ideal length of a poem?
Is this poem too long?
It could be too tight.
Too short may be wrong.
Long may be just right.
dsi1
I use the corner of my index finger to pull out that note. What can I
say? I never listened to the Segovia version nor did I know you're
supposed to play it that way...
Mostly, I really liked Marcelo Kayath's treatment. The way I play it
it's practically a separate note. Not too cool but that's the way I hear
it in my head. :-)
Andrew Schulman
> On 7/7/2011 3:44 PM, Andrew Schulman wrote:
>
> > On Jul 7, 9:54 am, "foli...@yahoo.com"<foli...@yahoo.com> wrote:
> >> Brings to mind Segovia's "Granada" thumb's rest stroke on the second
> >> string. Did you mark it as such?
>
> >> No I didn't... next time!
>
> > Good thread.
>
> > BTW, unless you are referring to another spot, I think the rest stroke
> > was on the third string, the -e-.
>
> > Andrew
>
> I use the corner of my index finger to pull out that note. What can I
> say? I never listened to the Segovia version nor did I know you're
> supposed to play it that way...
>
>
knowing the Segovia version, and the thumb seemed natural. There was
a thread here a while back mention the index approach, tried it, seems
fine, but I think the thumb gives that extra bit of roundness and
solidity to that melody in the middle.
Andrew
dsi1
Funny how that works. Using my thumb feels very awkward, then again, I
hold a pool cue like a lefty and used to wear a watch on my right wrist.
It seems that however you learn to do anything gets imprinted into your
brain.
My theory is that this goes deeper than just the physical and that the
way you experience the world depends a lot on how you were taught to
perceive it.
Biendoducedodièse
> On Jul 7, 10:51 am, Douglas Seth <dougla...@gmail.com> wrote:
> > On Jul 7, 9:54 am, "fol...@yahoo.com" <fol...@yahoo.com> wrote:
> >
> >
> >
> >
> >
> > > Brings to mind Segovia's "Granada" thumb's rest stroke on the second
> > > string. Did you mark it as such?
> >
> > > No I didn't... next time!
> >
> > > Yep, I like Dusan Bogdanovic's work.
> >
> > > > Your are right. The Llobet was good move.In my dreams, a CD with the
> > > > Llobet and my piece be perfect. But I think that will be a long time
> > > > coming.<
> >
> > > "Yep, it's too long! :-) "
> > > It is long but so are the Brahms Handel and Beethoven Diabelli
> > > variations... and that doesn't stop pianists (please, I am talkin'
> > > duration and difficulty only)
> >
> > > If you heard the level of performances at the GFA you would see that
> > > it is entirely do-able by the current generation.
> > > I judged the Junior division and it was amazing. What the kids are
> > > doing with ease is endlessly discussed with no results by the elders
> > > here on this ng.
> >
> >
> > > > > > On Jul 7, 6:29 am, "fol...@yahoo.com" <fol...@yahoo.com> wrote:
Maybe, but will they (the one who will easily develop a superior technique to JW)have the equivalent good fortune to record and tour as much as he did?
http://plum.cream.org/williams/records.htm
Alain
Che
> On 7/8/2011 5:25 AM, Andrew Schulman wrote:
>
>
>
>
>
> > On Jul 8, 6:03 am, dsi1<d...@usenet-news.net> wrote:
> >> On 7/7/2011 3:44 PM, Andrew Schulman wrote:
>
> >>> On Jul 7, 9:54 am, "foli...@yahoo.com"<foli...@yahoo.com> wrote:
> >>>> Brings to mind Segovia's "Granada" thumb's rest stroke on the second
> >>>> string. Did you mark it as such?
>
> >>>> No I didn't... next time!
>
> >>> Good thread.
>
> >>> BTW, unless you are referring to another spot, I think the rest stroke
> >>> was on the third string, the -e-.
>
> >>> Andrew
>
> >> I use the corner of my index finger to pull out that note. What can I
> >> say? I never listened to the Segovia version nor did I know you're
> >> supposed to play it that way...
>
> > It works either way. I started out with my own arrangement, not
> > knowing the Segovia version, and the thumb seemed natural. There was
> > a thread here a while back mention the index approach, tried it, seems
> > fine,>
> but I think the thumb gives that extra bit of roundness and
> > solidity to that melody in the middle.<
It seems to 'pop' that E out wit the thumb with a certain verve.
Thinking back, it's been some 13 years since I last played Granada.
> My theory is that this goes deeper than just the physical and that the
> way you experience the world depends a lot on how you were taught to
> perceive it.-<
And our ears.
Che
Excellent guitarist will become omnipresent and what once was rare
will become as ubiquitous as plastic shopping bags . . . Commercial
potential, Zilch. Simple facts of basic economics. Law of supply and
demand.
Biendoducedodièse
one winner a year ... one recording contract, one tour of 50 concerts in North America ... and ... au suivant! (next winner).
Alain
Biendoducedodièse
Alain
Che
> Next on TV ... so you think you can play classical guitar! (adjudicators: Julian Bream, Johns Williams (when he is not on tour), Kent Murdick and Sharon Isbin.)
>
> Alain
Ever notice, you seldom see CG on tv anymore. Rememeber this:
http://www.youtube.com/watch?v=Vsg97bxuJnc from 1975. Consider,
Manuel Barrueco was featured on "CBS Sunday Morning", A&E's "Breakfast
with the Arts", and "Mister Rogers' Neighborhood" and a Lexus car
commercial. You don't see the CG on televison like that much anymore.
Biendoducedodièse
The classical guitar is maybe no match for our up tempo entertainment society ...
Alain
dsi1
> On Jul 8, 2:24 pm, dsi1<d...@usenet-news.net> wrote:
>> On 7/8/2011 5:25 AM, Andrew Schulman wrote:
>>
>>
>>
>>
>>
>>> On Jul 8, 6:03 am, dsi1<d...@usenet-news.net> wrote:
>>>> On 7/7/2011 3:44 PM, Andrew Schulman wrote:
>>
>>>>> On Jul 7, 9:54 am, "foli...@yahoo.com"<foli...@yahoo.com> wrote:
>>>>>> Brings to mind Segovia's "Granada" thumb's rest stroke on the second
>>>>>> string. Did you mark it as such?
>>
>>>>>> No I didn't... next time!
>>
>>>>> Good thread.
>>
>>>>> BTW, unless you are referring to another spot, I think the rest stroke
>>>>> was on the third string, the -e-.
>>
>>>>> Andrew
>>
>>>> I use the corner of my index finger to pull out that note. What can I
>>>> say? I never listened to the Segovia version nor did I know you're
>>>> supposed to play it that way...
>>
>>> It works either way. I started out with my own arrangement, not
>>> knowing the Segovia version, and the thumb seemed natural. There was
>>> a thread here a while back mention the index approach, tried it, seems
>>> fine,>
>
>> but I think the thumb gives that extra bit of roundness and
>>> solidity to that melody in the middle.<
>
> It seems to 'pop' that E out wit the thumb with a certain verve.
> Thinking back, it's been some 13 years since I last played Granada.
I can dig that - play it like you're Ricardo Montalban!
dsi1
That Cordoba looks huge! Back then, it wasn't that big. That front end
styling was pretty radical. My brother-in-law's friend had one. He got
murdered in a bad way as an example by drug dealers. That's pretty much
what I think of when I see this car.
Che
There is a bit in the new film "Tree of Life".
fol...@yahoo.com
Some of my favorite use of classical guitar is in the film "The
Passenger" with Jack Nicholson. It was Llobet and Tarrega's music. It
really moved me.
Don't forget about the guitar in the film about wine tasting a few
years ago and "The Departed" with Sharon playing.
Che
> On Jul 8, 9:48 pm, Che <Comanchetr...@hotmail.com> wrote:
>
> > On Jul 8, 8:25 pm, Biendoducedodièse <rei...@telus.net> wrote:
>
> > > These where the days of classical guitar on TV [;o) ... the last classical guitar piece I enjoyed in a film was a piece in the film "The lives of others" ...
> > > The classical guitar is maybe no match for our up tempo entertainment society ...
>
> > > Alain
>
> > There is a bit in the new film "Tree of Life".
>
> Some of my favorite use of classical guitar is in the film "The
> Passenger" with Jack Nicholson. It was Llobet and Tarrega's music. It
> really moved me.<
That was a mid-70's movie. I was originaly speaking to tv shows not
films although films are great for it also. It was the Japanese film
"Harp of Burma" that set me off. TV shows like "The Tonight Show" were
Johnny Carson often had fine CG players.
fol...@yahoo.com
There is the famous appearance by Sharon Isbin on the T.V. show The L
word!
Slogoin
> TV shows like "The Tonight Show" were
> Johnny Carson often had fine CG players.
Of course you know his son Cory plays CG.
Johnny also promoted his interests in astronomy, magic, drumming/
music and tennis.
It's not just guitar where skills have improved and it's not just
guitar that has much less bandwidth in the public discourse.
Go sports and entertainment! We're number one! Yeah!.... Education?
What? Well...there ya go again, 25th ain't so bad, right?
Che
I saw her once back in the 70's and the alarm went off. It seems your
very good friend sorta' fell in love with her and he realized what was
going down . . . left the country! :-)
Here I was going to ask you to define "Good Taste" in music, something
I've been trying to define for a friend, and you bring this up! Just
curious, I studied with a refined harpsichordist at one time. She
stressed "good taste" and refered to F. Couprin's "Art de Toucher le
Clavecin" and things Rameau, Scarlatti, Principles of the Harpsichord
by Monsieur de Saint Lambert with regard to "good taste." So what is
this good taste? Is there a standard? It is quite obvious in the
Barnyard with various skill, differing natures and training/education,
we often see these "Good Taste" issues but never seem to tackle the
definitions. I do have my thoughts on this or maybe I ought to say,
how I view good taste for myself but I curious, how does a very
learned musician define good taste?
Btw, the "L" word wasn't in the best of taste but I enjoyed it...does
that mean I have poor taste?
Che' de Petadoggy
Che
A demonstration of how your brain gets fooled to see something that is
not there (or there, just depends) because of your biases, prejudices
and expectations.
http://www.youtube.com/watch?v=9Qm3-4qcOrE
The first time I saw Sila do this..... it was a WTF moment for me.
>
> My theory is that this goes deeper than just the physical and that the
> way you experience the world depends a lot on how you were taught to
> perceive it.- Hide quoted text -
John Nguyen
Slogoin
>
> http://www.youtube.com/watch?v=9Qm3-4qcOrE
>
> The first time I saw Sila do this..... it was a WTF moment for me.
Obviously you were not familiar with cello playing.
Biendoducedodièse
By the way ... the guitar look awfully small tucked in that huge body!
Alain
Richard Jernigan
> >> Next on TV ... so you think you can play classical guitar! (adjudicators: Julian Bream, Johns Williams (when he is not on tour), Kent Murdick and Sharon Isbin.)
>
> >> Alain
>
> > Ever notice, you seldom see CG on tv anymore. Rememeber this:
> > Manuel Barrueco was featured on "CBS Sunday Morning", A&E's "Breakfast
> > with the Arts", and "Mister Rogers' Neighborhood" and a Lexus car
> > commercial. You don't see the CG on televison like that much anymore.
>
> That Cordoba looks huge! Back then, it wasn't that big. That front end
> styling was pretty radical. My brother-in-law's friend had one. He got
> murdered in a bad way as an example by drug dealers. That's pretty much
> what I think of when I see this car.
Montalban, the consummate actor, mispronounces "Córdoba" every time,
exactly as he was told to do.
RNJ
John Nguyen
Jason Vieaux is a big guy!
Biendoducedodièse
But ...if he his that big ... should not he play a 664mm????
Alain
dsi1
>
> A demonstration of how your brain gets fooled to see something that is
> not there (or there, just depends) because of your biases, prejudices
> and expectations.
>
> http://www.youtube.com/watch?v=9Qm3-4qcOrE
>
> The first time I saw Sila do this..... it was a WTF moment for me.
It's a simple solution to a technical problem that would be hard for a
classically trained guitarist to see. The guy also equalizes the tension
between the nut and the tuners. Gee, you'd think he'd have a non-binding
nut. :-)
dsi1
> On Jul 8, 4:46 pm, dsi1<dsi...@spam.net> wrote:
>> On 7/8/2011 3:07 PM, Che wrote:
>>
>>>> Next on TV ... so you think you can play classical guitar! (adjudicators: Julian Bream, Johns Williams (when he is not on tour), Kent Murdick and Sharon Isbin.)
>>
>>>> Alain
>>
>>> Ever notice, you seldom see CG on tv anymore. Rememeber this:
>>> http://www.youtube.com/watch?v=Vsg97bxuJncfrom 1975. Consider,
>>> Manuel Barrueco was featured on "CBS Sunday Morning", A&E's "Breakfast
>>> with the Arts", and "Mister Rogers' Neighborhood" and a Lexus car
>>> commercial. You don't see the CG on televison like that much anymore.
>>
>> That Cordoba looks huge! Back then, it wasn't that big. That front end
>> styling was pretty radical. My brother-in-law's friend had one. He got
>> murdered in a bad way as an example by drug dealers. That's pretty much
>> what I think of when I see this car.
>
> exactly as he was told to do.
>
> RNJ
Bless his little heart! Half the allure of the car is how he
mispronounces the name. I wouldn't know how to say it correctly, nor
would I want to. OTOH, I always mispronounce the name of that ugly 80s
Dodge and call it the "die-nasty" instead of Dynasty. :-)
fol...@yahoo.com
almost totally dominated by Europeans et al. Not only the winners of
the artist competiton but the juniors,too. (one from France, India,
Romania and South Korea).
In fact, the vast majority of featured acts were not 'merican (save
for Starobin).
Interesting!
Che
> Another interesting point about the GFA this year. The convention was
> almost totally dominated by Europeans et al. Not only the winners of
> the artist competiton but the juniors,too. (one from France, India,
> Romania and South Korea).
The first year Kang shows up for the juniors divison it'll be a sad
day in the Land of the Not-So-Free: http://tinyurl.com/3debxpf
I expect she'll knock out your "Prelude and Fugue, from Variations on
a Theme by Fernando Sor" in less than 20 minutes including her own
improvised ornamental candenza. Give her a Dream Theater for
background and a mesa boogie and she'll take over the planet!
mata...@gmail.com
I did not attend any of the lectures, (except my own...) and a brief
visit to the one by Thomas Heck. Perhaps the comparison could be made
that the Europeans and Asians can play the guitar, and the Americans
can only talk...
This is not interesting at all. It is sad.
MO.
Cactus Wren
shortfall.
And, to paraphrase one of our resident teachers, our guitar education
system is dysfunctional because it is socialistic. And he also added
that the reason the Chinese were so good was because they were so
Communist.
mata...@gmail.com
wrote:
> Shearer being gone is no doubt responsible for this regrettable
> shortfall.
I do not think so. Shearer was misguided and incompetent, but he meant
well. What is responsible for this regrettable shortfall is not
Shearer himself, but the lack of critical thinking on the part of his
sycophantic followers, those who equated the volume of sales of a
given book with the actual nature of the pedagogy thus disseminated.
MO.
Che
Let's hope Kent Murdock (Luteman) doesn't read this. Oh, wait...
nevermind, it looks like all those Murdocks are going to jail.
Douglas Seth
These players seem to do more than talk and they are Americans.
http://www.youtube.com/watch?v=GQf4Uf6YU_4
http://www.youtube.com/watch?v=UhyMp7rzL04
Both hailing from the great state of New York, eastern and western
respectively.
Let's not forget the west coast.
http://www.youtube.com/watch?v=5c18ERv30CE&feature=related
http://www.youtube.com/watch?v=EPP0_va2krc
Clearly, there are plenty of Americans that are great players. These
are just a few of the best. There are great players all over the
world. Maybe non-Americans have more of an interest in competitions.
Maybe not.
Douglas Seth
> shortfall.
>
> And, to paraphrase one of our resident teachers, our guitar education
> system is dysfunctional because it is socialistic. And he also added
> that the reason the Chinese were so good was because they were so
> Communist.
I don't understand how guitar education in America would be socialist
considering most people pay for lessons here. That would fall under a
capitalist model, right?
>
>
>
> > I did not attend any of the lectures, (except my own...) and a brief
> > visit to the one by Thomas Heck. Perhaps the comparison could be made
> > that the Europeans and Asians can play the guitar, and the Americans
> > can only talk...
>
> > This is not interesting at all. It is sad.
>
> > MO.- Hide quoted text -
fol...@yahoo.com
GFA there were hardly any invited to perform.
Matanya,
If I am ever invited to perform at a GFA, this will be my program:
10 Studies in Kaleidoscope
Pocket Sonata
Tango Caffe Carciofo
Creation Fugue
Intermission
Variations on a Theme by Sor.
Best,
Mark
On Jul 10, 11:38 am, "matan...@gmail.com" <matan...@gmail.com> wrote:
mata...@gmail.com
> I think there are plenty of Americans capable. Just at this particular
> GFA there were hardly any invited to perform.
The discussion is mainly about the level of the competitors, not the
concert performers. Of course there are great American performers,
some of whom are even students of Shearer. But the deciding factor in
extending invitations, May I be struck by a bolt of lightening from
heaven for suggesting this, is not how great they are, but if they
happen to be in charge of a guitar festival to which the current
organizers may be invited in the future. The scratch-my-back and-I'll
scratch-yours syndrome is very much alive. Just watch to see which
American guitarists are invited next year to guitar festivals in
Europe and you'll get the drift of this.
MO.
mata...@gmail.com
> I think there are plenty of Americans capable. Just at this particular
> GFA there were hardly any invited to perform.
>
> Matanya,
> If I am ever invited to perform at a GFA, this will be my program:
Excellent program, IIMSSM... These are the Featuring Guest Artists for
next year's GFA:
Arc Duo
Assad Brothers
Bandini/Chiacchiaretta Duo
Beijing Guitar Quartet
ChromaDuo
Massimo Delle Cese
Roland Dyens
Marko Feri
Dale Kavanagh
Eleftheria Kotzia
Juan Carlos Laguna
Andrew McKenna Lee
Cristiano Porqueddu
Connie Sheu
Marco Tamayo
Timothy Walker
All excellent artists, even though I do have some personal exceptions
to some of them. But do tell me:
How many Americans in the lot?
MO.
John Nguyen
The Beijing Duo for sure!
mata...@gmail.com
Are they now citizens of the US or permanent residents? students visa
does not make one an American.
MO.
John Nguyen
I'm just joking on the fact that lots of good guitarists now residing
in the USA came from other countries! I think the Beijing Duo are on
student visa, but no doubt they will get permanent resident status
soon.
Cheers,
John
Cactus Wren
I would think so... but if you have an axe to grind, and you are a
hammer, every problem looks like nail. :)
Fugue
> Of the top 2 prizes Andras Csaki (Hungary) played it at a great tempo.
> The ending had the monumental feel I wanted. Although none used thumb
> sweeps for a forte or rest stroke in the thumb on a particular note,
> when the higher string allowed such a thing, in the final chords.
> The first prize winner played the Fugue with lots of inventive
> articulations but the final chords went down to piano when it is
> clearly marked forte.
>
Have any videos of the Prelude and Fugue been posted yet? I can't find
any.