An American title
Angelo Gilardino
American guitarist and I have found an inspiration in the vision of a
photograph by John Wasak, published on his website. Appearently, there is
nothing extraordinary in the image - it is not an attractive place for
tourists - but, maybe for a memory association I do with some remote places
which I saw and forgot, and surely for the skills of the photographer, I
find some enchanted athmosphere in that place and this is my motion for
composing the piece. Accordingly, I should give my work the title
corresponding to the place as given by JW: "Catskill Pond Suite". To an
Italian ear, it works, but does it work as well for an American reader? Is
it evocative of a magically, lonely beatiful little world (as the image
suggests to me and as, I hope, my music will suggest to listeners) or does
it sound dull and unsignificant?
Thankyou for your advices.
AG
David Raleigh Arnold
It is evocative enough, but not so evocative that it suggests tons
of other people's stuff. "Catskill Pond" is fine, and if you put
"Suite" after anything it shines it up enough. "13th and J Suite".
See what I mean? The music has to carry it all anyway.
"Asturias" is supposed to sound like rain, but I don't hear others
play it that way. Would "A Foggy Day in Asturias When It Rained
Twice" have been a better title? Sometimes you just have to let
go. DaveA
--
The biggest losers of all are the winners of an unjust war.
The wars are not over. Just the winning part is over.
Bush lied. Thousands died. dra@ http://www.openguitar.com
Mark & Steven Bornfeld DDS
Angelo Gilardino wrote:
It is evocative, but what it evokes even for Americans may vary widely.
The Catskills are a low mountain range perhaps 100 miles from New York City.
It is a rural area, yet close enough to the city to evoke a popular vacation
area for the metropolitan area. In its golden age in the post WWII days until
the 1960s, it became an area of large hotels and resorts as well as bungalow
colonies mainly owned by working/middle class, more or less secular Jews.
These resorts went into decline in the last 30 years or so, leaving a
significant amount of poverty in their place. There are some towns like
Woodstock which have become popular artist colonies. (the Woodstock festival
was actually in Bethel, some distance away). Some towns have developed as
pockets of Chasidic life; in other areas there has been a push for the
development of casino gambling. This has not been legalized yet.
With all the historic associations of the area, it remains largely rural.
For many who do not know New York State well, this is the paradox; New York is
(with the exception of the few large cities) largely a rural state, with plenty
of protected wild areas--including the Catskill state park.
Steve
--
Mark & Steven Bornfeld DDS
Brooklyn, NY
718-258-5001
http://www.dentaltwins.com
Matanya Ophee
I would refrain from using this title. For this reason: the Catskils
is simply a mountian range in central New York state. As a
geographical locator, the reference to them is perfectly harmless. On
the other hands, the Catskills have entered American folklore as the
preffered resort area for American Jews, being populated as they are
with many fancy hotels, where a certain brand of entertainment is
offered to the guests. It is known as the Borscht belt. You would not
want your music associated with that. Look here:
Matanya Ophee
Editions Orphe'e, Inc.,
1240 Clubview Blvd. N.
Columbus, OH 43235-1226
614-846-9517
fax: 614-846-9794
http://www.orphee.com
Reza (www.rezamusic.com)
"Angelo Gilardino" <angelog...@tin.it> wrote in message
news:b95ivd$fq2un$1...@ID-91010.news.dfncis.de...
> I am writing a Suite for solo guitar at the kind request of a forefront
> American guitarist and I have found an inspiration in the vision of a
> photograph by John Wasak, published on his website. Appearently, there is
> nothing extraordinary in the image
A common man marvels at uncommon things; a wise man marvels at the commonplace. Confucius
Reza Ganjavi
www.rezamusic.com
______________________________
yat...@apsu.edu
<darn...@cox.net> wrote:
>"Asturias" is supposed to sound like rain, but I don't hear others
>play it that way.
I've not heard that before.
You might be interested in:
http://www.StanleyYates.com/articles/albeniz/intro.html
Stanley Yates
http://www.StanleyYates.com
David Raleigh Arnold
>
> "Angelo Gilardino" <angelog...@tin.it> wrote in message
> news:b95ivd$fq2un$1...@ID-91010.news.dfncis.de...
>
>> I am writing a Suite for solo guitar at the kind request of a forefront
>> American guitarist and I have found an inspiration in the vision of a
>> photograph by John Wasak, published on his website. Appearently, there
>> is nothing extraordinary in the image
>
> A common man marvels at uncommon things; a wise man marvels at the
> commonplace. Confucius
I like your answer too. DaveA
Larry Deack
> I am writing a Suite for solo guitar at the kind request of a forefront
> American guitarist
Fantastic! I can't wait. This is very good news for us.
> and I have found an inspiration in the vision of a
> photograph by John Wasak, published on his website.
Very cool! Way to go JW!
> JW: "Catskill Pond Suite". To an
> Italian ear, it works, but does it work as well for an American reader?
I think others have pointed out that the Catskills do not have the same
sense of romance as something like the Sierra Nevada in California where one
wilderness area is named after the famous naturalist John Muir and another
right next to it named after photographer Ansel Adams. There are still many
magical, lonely and incredibly beautiful places on the west coast of the US
and Canada where you can be many miles from any other human.
Mark & Steven Bornfeld DDS
Larry Deack wrote:
Quite the contrary; there is (at least among our generation of working class
Jews from the New York area) a tremendous nostalgic pull from the cultural
history of the place. It is wrapped up in the postwar/baby boom era, the
longing of space for those of us growing up in the tenements.
The large resorts to which Matanya refers are largely gone, and the area no
longer exists as a "borscht belt" community. As such, the mere mention of the
era evokes a sense of longing for a simpler life lost, a time before "we" could
live anywhere--with living, breathing survivors of eastern european shtetl life
still around, running after us--their children and grandchildren.
Of course, there was a "Catskills" long before this--of native Americans,
trappers, and relics of the Revolutionary War.
Much of this will be lost, of course, on a European audience, and even on
the larger American audience.
David Raleigh Arnold
> On Mon, 05 May 2003 13:29:34 GMT, "David Raleigh Arnold"
> <darn...@cox.net> wrote:
>
>>"Asturias" is supposed to sound like rain, but I don't hear others play
>>it that way.
>
> I've not heard that before.
I haven't either, but I *have* to get inside a composer's head. I'm
really pi***d that I missed the fact that hvl didn't want the Cmaj7/e to
be even slightly established as a tonic, hence the f#. Couldn't let it go
without figuring it out, you see.
Rain is what the music says to me.
>
> You might be interested in:
>
> http://www.StanleyYates.com/articles/albeniz/intro.html
It is indeed interesting. I begin it "pizzicato", and I think that the
original staccato supports that interpretation. I use the thumb on the
six note chords to give a more muddy and mysterious effect than the
clarity which Segovia wanted, and here:
" At one point in the Allegro sections it becomes impossible to retain
both
the upper and lower notes of an evocative Phrygian augmented-sixth chord.
Segovia substituted the following chord, which preserves the correct
upper tone, but alters the bass-note (figure 11):"
I use the A# bass in first position with the top note e an octave lower. I
saw Segovia play it that way, so he did not always opt for the high e. It
makes more sense if you want blurry sounding chords, which I do. I don't
know how long Segovia used the lower form, but he did change back.
I will stick with the lower e, because changing the top note introduces
something other than b's and e's to the tops of those chords, which IMHO
introduces a melodic element which just doesn't belong there.
He messed around with the arpeggio ending to the first part and played it
in a lot of different ways. The problem really was that he had bad
fingering for it and so he was unable to accelerate right up to the
harmonic at the end. It's easy with 214-431231214-4. His mistake was to
have an unimportant pattern of fingering the same, 214 214... 214, instead
of the important pattern of the *problem* the same, 4-4. I saw him use
fingering which showed that he had figured that out at least once, but not
in Leyenda.
There is a Tarrega "Prelude" with a similar ending, and Isaias Savio's
edition had it fingered right. I don't know about the original.
Segovia's eyesight was so bad that it is possible that he simply forgot
changing the A# bass. I saw him revert to an inferior fingering playing
Torroba's Madron~os on one occasion. It *did* happen to him.
Didn't Segovia copy Llobet's Leyenda version anyway? Or was it the other
way around?
So I think that pianists and guitar players play it too fast, except in
the middle, but I have heard an orchestral version, by Ravel IIRC, that
was played too slowly, I mean glacially, by Ansermet IIRC.
The triplets have something to do with this, but I like a tempo that makes
it possible to hear individual notes, barely, just as rain always has
drops.
I play the middle part a hair faster, so that it opens with a fanfare,
distant trumpets, piano and utterly without vibrato. Then it gains
Moorish character, and strength, little by little. I think the original
markings fit that interpretation well enough too. I don't think he was
trying to suggest cante jondo at all, he was suggesting Moorish, and maybe
just a little bit Roman too.
In his published transcription, Segovia ended it with two more e's than
you do, and IMHO that is even more mysterious an ending. As you know, he
quit doing that and ended it as if it were flamenco, which I'm sure you
have gathered by now is not IMHO good at all. DaveA
John Wasak
First let me say that I'm glad to hear of Angelo's writing a suite for solo
guitar. This is welcome news for guitarists.
Of course, Angelo, I recall your mention of the possibility of that
particular photograph inspiring a piece of music and I'm delighted to hear
that it seems to have come to fruition. That my photograph should play any
part in the creation of your music is something I consider to be a great
honor. Grazie, Angelo.
Now, this is an interesting question posed here and some of the responses to
this have been interesting as well. If I might, I'd like to weigh in a bit
with my own thoughts on the subject. Hopefully, as I think I could write at
some length about the subjects involved, I'll try to keep it brief.
Angelo's proposed title of "Catskill Pond Suite" seems to me to evoke a
classic straightforwardness not unlike other American musical titles such as
Ferde Grofe's 'Grand Canyon Suite' or 'Niagara Falls Suite', Copland's
'Appalachian Spring', Charles Ives's 'Central Park in the Dark', Ned Rorem's
"Nantucket Songs' , to mention a few, all of which are place names. The
small difference would be that while the Catskill Mountains themselves are
certainly a place, "Catskill Pond" is not such a singular place to be found,
like the Grand Canyon would be, but the Catskill Pond of the title would be
just that - a pond in the Catskills, and as such it would be one among many
ponds to be found in the Catskills.
I think Steve has neatly summed up a few things about the Catskill region
and pointed out well and rightly that the Catskills, as a region, is and has
been many things to different people.
One of the things it has been, was home to Thomas Cole. Cole was the
founder of a well-known school of American landscape painting known as "The
Hudson River School". He was born in Lancashire, England but emigrated with
his family to the U.S. and eventually wound up living and dying in the town
of Catskill, New York. In my photograph 'Catskill Pond' there are two
historical allusions to other paintings in the image - one is to Thomas
Cole's ""The Clove, Catskills" (see
http://www.northnet.org/hildreth/coleclo.htm ) and the other is to Rene
Magritte's "The False Mirror" (see
http://www.artsforge.com/agallery/eye.html ). It is the synthesis of the
mountain landscape with the surreal pond as eye/ mirror reflecting the
clouds thing going on in the scene that initially intrigued me. It would
also be worth noting that the place where the photograph was taken was very
much off the beaten path (far from the area or the memory of the "Borscht
Belt"!) and could easily fit the "lonely beautiful world" of Angelo's
description.
Also, to touch on Larry's mention of the naturalist John Muir in this
thread - It might be surprising to know that the Catskills was also the home
of another great American naturalist and essayist, John Burroughs, (see
http://www.catskillarchive.com/jb/jb.htm ) who wrote a number of essays
about the Catskills. Burroughs and Muir were also colleagues (see
http://www.picturehistory.com/find/p/13553/mcms.html ). It's certainly true
that the Catskill Mountains do not possess the grandeur of the Western
mountain ranges but to people who might be used to a city's pavement and
it's tight proximities, the Catskill Mountains can still have a magic and a
beauty and yes, even a lonliness.
As a way of closing, I'd like to mention that I'm currently reading a book
of poetry by the well-acclaimed poet, Charles Wright, titled "Appalachia".
Now, such a title could conjure in the mind of some certain things like coal
mines and lungs filled black with coal dust, or a certain poverty of ways
and means, or a music that trips along on a fiddle's string, but this book,
"Appalachia", has nothing to do with that - it has to do the poet painting
_himself_ into the landscape he observes around him.
I guess all that's just a way of saying I think ""Catskill Pond Suite" as a
title works for me, but of course, Angelo should feel free to place any
title he sees fit on his composition.
jw
Mark & Steven Bornfeld DDS
John Wasak wrote:
Thanks for the background, John. Can you post the link to the photograph,
if it is still up?
Joseph Raymond
> I think Steve has neatly summed up a few things about the Catskill region
> and pointed out well and rightly that the Catskills, as a region, is and has
> been many things to different people.
>
> One of the things it has been, was home to Thomas Cole. Cole was the
> founder of a well-known school of American landscape painting known as "The
> Hudson River School".
> It's certainly true
> that the Catskill Mountains do not possess the grandeur of the Western
> mountain ranges
The Catskills were formed by erosion whereas most Western mts, such as
the Rockys were formed by the continental plates crashing together.
The soft and rounded Catskills are more gentle and evoke a more
peaceful feeling.
> the Catskill Mountains can still have a magic and a
> beauty and yes, even a lonliness.
Yes. To me the Catskills are the land of Washington Irving, The Legend
of Sleepy Hollow and Rip Van Winkle. Plenty of magic there. Also,
aside from nature, we have the great of influence of the Dutch which
pervades NYC as well as the Catskills. And let's not forget the
influence of all the Native American tribes: Iroquois, Onandagas, etc.
The area is rich in Indian names.
One can say a lot about "Catskill Pond."
Joe
Sam Culotta
It's very tempting to over think something like this. "Catskill Pond Suite"
is a beautiful and evocative title.. and it's the music that will matter
most.
Sam
"Angelo Gilardino" <angelog...@tin.it> wrote in message
news:b95ivd$fq2un$1...@ID-91010.news.dfncis.de...
Larry Deack
That's good because so many of us grew up hearing those comedians on TV
joking, "If you can make it in the Catskills, you can make it anywhere".
Time for a change of image. If the photo is used on the cover of the
publication... :-)))))
Matanya Ophee
But how do you get rid of the image of Henny Youngman (take my wife
for example..) Jackie Mason, Don Rickles and Rodney Dangerfield?
Mark & Steven Bornfeld DDS
Larry Deack wrote:
Of course you're right--seriously. Much of the public image of the
"borscht belt" had more to do with Hollywood than with the Catskills.
Steve
--
Mark & Steven Bornfeld DDS
Terlizzi
>>play it that way.
>
>I've not heard that before.
I know the Preludio from the Suite Compostelana is often said to be evocative
of rain and there is a certain textural similarity between leyenda and the
preludio. So why not?
md
Richard Spross
I've read all the replies to date and being unfamiliar with the region,
my immediate reaction was, "sounds corny" or too homespun folksy. Then
after I learned more about people's thoughts, feelings and memories of
the region, I was much
more reassured and now more understanding. So my first impression faded.
But as the title stands it feels a bit clumsy, or maybe too stark to me
anyway. Here's offering a tiny adjustment which gives the title more elasticity
and invites imho the reader into it's journey.
"Catskill Pond"
a suite
for guitar solo.
by
Angelo Gilardino.
Regards,
Richard Spross
Angelo Gilardino
"Angelo Gilardino" <angelog...@tin.it> ha scritto nel messaggio
news:b95ivd$fq2un$1...@ID-91010.news.dfncis.de...
I warmly thank all friends and colleagues who have answered or will answer
my question.
I will be glad to send to each of them a copy of the publication when
printed (I have to write the piece yet...)
AG
Angelo Gilardino
"Larry Deack" <cg...@mindspring.com> ha scritto nel messaggio
news:b96svm$rv9$1...@slb0.atl.mindspring.net...
Using that photo for the cover is what I have in my mind, and when 1) I will
have finished the piece; 2) the guitarist from whom I am writing it will
have accepted it; 3) a negotiation between John Wasak and the publisher will
have been concluded, and if no unforeseeable problem arises, then I will
have the photo on the cover.
Ciao Larry and thankyou.
AG
JMF
> for example..) Jackie Mason, Don Rickles and Rodney Dangerfield?
Ah, MO, your photographic memory has failed you here. It's not "take my wife
for example."
It's "take my wife ... please."
;-)
John
P.S. And thanks for the great memories evoked by this. No one was ever
better than these Rimshot Kings.
Mark & Steven Bornfeld DDS
JMF wrote:
"Doctor says I'm crazy. I said I want a second opinion. Doctor says, "OK,
you're ugly too!"
Steve
--
Mark & Steven Bornfeld DDS
Larry Deack
> I warmly thank all friends and colleagues who have
> answered or will answer my question.
One more bit of feedback for what it is worth...
A friend thought of "Catskill pond scum" when he first heard the title. Oh
My!
Good luck Angelo!
Doug Cummings
>
> Dear Angelo,
>
> I've read all the replies to date and being unfamiliar with the region, my
> immediate reaction was, "sounds corny" or too homespun folksy. Then after I
> learned more about people's thoughts, feelings and memories of the region, I
> was much
> more reassured and now more understanding. So my first impression faded. But
> as the title stands it feels a bit clumsy, or maybe too stark to me anyway.
> Here's offering a tiny adjustment which gives the title more elasticity and
> invites imho the reader into it's journey.
>
> "Catskill Pond"
>
> a suite
> for guitar solo.
>
> by
> Angelo Gilardino.
>
> Regards,
> Richard Spross
>
>
Richard,
I Like your tweek of the title. It sound inviting like a Catskill
Pond should. BTW I think that the days of the Borscht Belt are long
enough gone such that for those of us born after 1960 it is virtually
unknown. The same could be said about Maine's Belgrade Lakes region
and it reknown as a summer hot spot for New York's Jewish community,
yet many of the locals have forgotten their history.
Angelo writes of a Catskill Pond
Emerald trees and Fiddlehead frond
A lonely beautiful world to embrace
An enchanted athmosphere in that place
Where melodic sounds come to meet
To create a Catskill Pond, how suite!!
Bad poetry I know and it is no longer poetry month, but one must do
what the moment moves him to..
Regards,
Doug
Carlos Barrientos
<born...@dentaltwins.com> wrote:
"I just flew in from the coast and, boy,are my arms tired!" tee hee
--
Carlos Barrientos
"mailto:ca...@sprintmail.com"
Phone: (229) 395-1893
"Beware the leader who bangs the drums of war in order to whip the citizenry into a patriotic fervor,
for patriotism is indeed a double-edged sword. It both emboldens the blood, just as it narrows the
mind. And when the drums of war have reached a fever pitch and the blood boils with hate and the
mind has closed, the leader will have no need in seizing the rights of the citizenry. Rather, the
citizenry, infused with fear and blinded by patriotism, will offer up all of their rights unto the leader
and gladly so. How do I know? For this is what I have done. And I am Caesar." Julius Caesar
Mark & Steven Bornfeld DDS
Doug Cummings wrote:
> > --
> Richard,
> I Like your tweek of the title. It sound inviting like a Catskill
> Pond should. BTW I think that the days of the Borscht Belt are long
> enough gone such that for those of us born after 1960 it is virtually
> unknown.
So? ;-)
Incidentally, the Borcht Belt was almost exclusively outside of Catskill Park, in Sullivan and
to a lesser extent in Ulster county. My friend Jim McGhie tells me there was as well an "Irish
Catskills", and, for all I know, pockets of any number of ethnic enclaves. I believe there is
still a Ukrainian Center just outside of New Palz.
It is, in all, still a very lovely area. I couldn't think of a nicer tribute than a suite by
Gilardino.
Steve
> The same could be said about Maine's Belgrade Lakes region
> and it reknown as a summer hot spot for New York's Jewish community,
> yet many of the locals have forgotten their history.
>
> Angelo writes of a Catskill Pond
> Emerald trees and Fiddlehead frond
> A lonely beautiful world to embrace
> An enchanted athmosphere in that place
> Where melodic sounds come to meet
> To create a Catskill Pond, how suite!!
>
> Bad poetry I know and it is no longer poetry month, but one must do
> what the moment moves him to..
>
> Regards,
> Doug
--
Carlos Barrientos
<angelog...@tin.it> wrote:
Dear Maestro Gilardino:
Good luck on your new piece and I hope you can enjoy the process of
writing it. I think the title is fine and evocative. I find that getting
started is the hardest thing for me (but then so is leaving the world one
creates...) and the inspriration is always welcome. I just sent
Barbosa-Lima my newest work for him, "The Gifts of the Magi", I hope he
finds it suits his needs and brings pleasure to the listeners.
Va Bene, Maestro!
Sam Culotta
news:b98fin$cuc$1...@slb3.atl.mindspring.net...
Your friend has a dirty mind, Larry. :-)
Sam
>
> Good luck Angelo!
>
>
Brian Gardiner
> I am writing a Suite for solo guitar at the kind request of a forefront
> American guitarist and I have found an inspiration in the vision of a
> photograph by John Wasak, published on his website. Appearently, there is
> nothing extraordinary in the image - it is not an attractive place for
> tourists - but, maybe for a memory association I do with some remote
places
> which I saw and forgot, and surely for the skills of the photographer, I
> find some enchanted athmosphere in that place and this is my motion for
> composing the piece. Accordingly, I should give my work the title
> corresponding to the place as given by JW: "Catskill Pond Suite". To an
> Italian ear, it works, but does it work as well for an American reader? Is
> it evocative of a magically, lonely beatiful little world (as the image
> suggests to me and as, I hope, my music will suggest to listeners) or does
> it sound dull and unsignificant?
>
> Thankyou for your advices.
>
> AG
>
>
Angelo
I quite like this title, it leaves me with the visual impression of a small
still body of water just lying there, perhaps a light mist rising off it.
Not a lonely place so much as a place where a person can go and re-tune
their soul, if that makes any sense.
Best of luck with the project.
Brian Gardiner
Angelo Gilardino
"Doug Cummings" <dcum...@yahoo.com> ha scritto nel messaggio
news:65c87b9a.03050...@posting.google.com...
> Angelo writes of a Catskill Pond
> Emerald trees and Fiddlehead frond
> A lonely beautiful world to embrace
> An enchanted athmosphere in that place
> Where melodic sounds come to meet
> To create a Catskill Pond, how suite!!
>
> Bad poetry I know and it is no longer poetry month, but one must do
> what the moment moves him to..
>
> Regards,
> Doug
Thankyou Doug, I will try to include the sound of your verses in my
inspiration.
AG
Angelo Gilardino
Dear Angelo,
I've read all the replies to date and being unfamiliar with the region, my immediate reaction was, "sounds corny" or too homespun folksy. Then after I learned more about people's thoughts, feelings and memories of the region, I was much
more reassured and now more understanding. So my first impression faded. But as the title stands it feels a bit clumsy, or maybe too stark to me anyway. Here's offering a tiny adjustment which gives the title more elasticity and invites imho the reader into it's journey.
"Catskill Pond"
a suite
for guitar solo.
by
Angelo Gilardino.Regards,
Richard Spross
AG Thankyou very much, Richard.
David Raleigh Arnold
> On Mon, 05 May 2003 13:29:34 GMT, "David Raleigh Arnold"
> <darn...@cox.net> wrote:
>
>>"Asturias" is supposed to sound like rain, but I don't hear others play
>>it that way.
>
> I've not heard that before.
I haven't either, but I *have* to get inside a composer's head. I'm
really pi***d that I missed the fact that hvl didn't want the Cmaj7/e to
be even slightly established as a tonic, hence the f#. Couldn't let it go
without figuring it out.
>
> You might be interested in:
>
> http://www.StanleyYates.com/articles/albeniz/intro.html
It is indeed interesting. I begin it "pizzicato", and I think that the
original staccato supports that interpretation. I use the thumb on the
six note chords to give a more muddy and mysterious effect than the
clarity which Segovia wanted, and here:
" At one point in the Allegro sections it becomes impossible to retain
both
the upper and lower notes of an evocative Phrygian augmented-sixth chord.
Segovia substituted the following chord, which preserves the correct
upper tone, but alters the bass-note (figure 11):"
I use the A# bass in first position with the top note e an octave lower. I
saw Segovia play it that way, so he did not always opt for the high e. It
makes more sense if you want muddy sounding chords, which I do. I don't
know how long Segovia used the lower form, but he did change back.
I will stick with that, because changing the top note introduces something
other than b's and e's to the tops of those chords, which IMHO introduces
a melodic element which just doesn't belong there.
He messed around with the arpeggio ending to the first part and played it
in a lot of different ways. The problem really was that he had bad
fingering for it and so he was unable to accelerate right up to the
harmonic at the end. It's easy with 214-43123124-4. His mistake was to
have an unimportant pattern of fingering the same, 214 214 214, instead of
the pattern of the *problem* the same, 214-4.
There is a Tarrega "Prelude" with a similar ending, and Isaias Savio's
edition had it fingered right. I don't know about the original.
His eyesight was so bad that it is possible that he simply forgot changing
that. I saw him revert to inferior fingering playing Torroba's Madron~os
on one occasion. It did happen to him.
So I think that pianists and guitar players play it too fast, but I have
heard an orchestral version that was too slow, I mean glacial.
I play the middle part a hair faster, so that it opens with a fanfare,
piano and utterly without vibrato. Then it gains Moorish character, and
strength, little by little. I think the original markings fit that interpretation well
enough.
>
>
>
> Stanley Yates
> http://www.StanleyYates.com
Tim Panting
shoots out of the top.
TP
"David Raleigh Arnold" <darn...@cox.net> wrote in message
news:pan.2003.05.05....@cox.net...