Paul Galbraith/ new post
Lutemann
Has anyone there noticed (how could you fail not to) that guitarists today fall
into two groups. There is Paul Galbraith and then there is all the rest of
the guitarists. Although not the most sensitive player out there, Galbraith
plays on an entirely different level than everyone else, and not by a small
margin. Of course it could be argued that PG doesn't really play the guitar.
His instrument has two more strings and he holds it funny. But other players
have added strings and are still considered guitarists.
My opinion is that we are seing the future in PG. It is is just like when the
Baroque guitar gave way to the more versitile modern guitar with more strings
and a different tuning. There had to be a first player out there to pave the
way. So what do you guys think? Is PG a freak or the future?
*****************************************************
Kent Murdick
Sample from my new method book: http://members.aol.com/lutemann/book4.jpg
http://members.aol.com/lutemann/guitar.html
MtthwMtchll
Rogluthier
>fall
>into two groups. There is Paul Galbraith and then there is all the rest of
>the guitarists. Although not the most sensitive player out there, Galbraith
>plays on an entirely different level than everyone else, and not by a small
>margin. Of course it could be argued that PG doesn't really play the guitar.
>His instrument has two more strings and he holds it funny. But other players
>have added strings and are still considered guitarists.
>
>My opinion is that we are seing the future in PG. It is is just like when
>the
>Baroque guitar gave way to the more versitile modern guitar with more strings
>and a different tuning. There had to be a first player out there to pave the
>way. So what do you guys think? Is PG a freak or the future?
I heard Galbraith's CD and then heard him live and agree with much of what Kent
says about the level of his playing although I found the extreme refinement of
his interp. and style to represent the height of sensitivity as well. Others
who have heard him on different occasions have given some mixed reviews.
After one hearing I told people that he is the best musician/artist I have ever
heard playing the guitar. Sounds, musical expression and ideas were brought
forth with a degree of clarity and insight that I have never experienced
before. All of this was conveyed with a feeling of almost devine repose.
I'm now at the GFA in San Antonio and eagerly anticipate his concert tomorrow.
I hope it confirms my initial impression which, like Kent, found him playing
the guitar at another level. Whether or not a school of players develops
around this pioneering style remains to be seen.
In any case he is breathing new life into the guitar world and he should be
celebrated for it. The beauty of the guitar is its simplicity and PG's set-up
is a step in a rather contrary direction. I've always said that true artistry
prevails and I believe that this player redefines the possibilities of the
instrument.
Roger Thurman
Thurman Guitar & Violin Repair, Inc.
900 Franklin Ave.
Kent, OH 44240
330-673-4054
http://members.aol.com/_ht_a/Rogluthier/
25 years in repair, making and sales.
Martin - Fender Warranty Repair
Visa/MC Shipment on approval
Bob Ashley
> Paul Galbraith is boring.
Does your Internet provider charge you by the keystroke?
rib
******************************
Rick Teichler
>To the rmcg group,
>
>Has anyone there noticed (how could you fail not to) that guitarists today fall
>into two groups. There is Paul Galbraith and then there is all the rest of
>the guitarists. Although not the most sensitive player out there, Galbraith
>plays on an entirely different level than everyone else, and not by a small
>margin. Of course it could be argued that PG doesn't really play the guitar.
>His instrument has two more strings and he holds it funny. But other players
>have added strings and are still considered guitarists.
>
>My opinion is that we are seing the future in PG. It is is just like when the
>Baroque guitar gave way to the more versitile modern guitar with more strings
>and a different tuning. There had to be a first player out there to pave the
>way. So what do you guys think? Is PG a freak or the future?
>
>*****************************************************
>
Well, you could do away with the special chair he travels with, scrap the sympathetic
sound box from floor level, get rid of the double foot-stools, and shorten the post on the
guitar. Then you'd have an instrument you could play with both feet flat on the floor,
and that had nearly the same size and portability as your current guitar. But the guitar
itself is a bit different structurally from a normal classical guitar, so the entry cost
for students is going to be higher for quite a while (i.e., a custom-built instrument).
And aside from Paul Galbraith himself, from whom does one learn the best techniques for
playing a fretted instrument held like a cello?--there aren't too many viola da gamba
instuctors out there.
I've seen him perform, and it was truly an extraordinary musical experience. But I don't
think he'll be widely copied, or that the 8-string guitar will be replacing the dominant
6-string in any near future. He's not a freak or the future, just a special musical gift
to our generation.
--
Rick Teichler
(Louisville, Colorado)
For Email replies, use:
teichler <at> sweng <dot> stortek <dot> com
Norman Dryden
Rick Teichler wrote in message <8snga6$j08$1...@news.stortek.com>...
>>
>>Has anyone there noticed (how could you fail not to) that guitarists today
fall
>>into two groups. There is Paul Galbraith and then there is all the rest
of
>>the guitarists. Although not the most sensitive player out there,
Galbraith
>>plays on an entirely different level than everyone else, and not by a
small
>>margin. Of course it could be argued that PG doesn't really play the
guitar.
>>His instrument has two more strings and he holds it funny. But other
players
>>have added strings and are still considered guitarists.
>>
>>My opinion is that we are seing the future in PG. It is is just like when
the
>>Baroque guitar gave way to the more versitile modern guitar with more
strings
>>and a different tuning. There had to be a first player out there to pave
the
>>way. So what do you guys think? Is PG a freak or the future?
>>
>>*****************************************************
>>
>
I went one Paul Galbraith concert some years ago and I'm unlikely to attend
another. My recollection is of a performer
meditating whilst producing a flawless, but utterly soulless
performance. The 'cello' position was a total distraction. It may be a
flawless and awesome technique but for me that is not particularly
important. I've seen David Russell give a technically flawless recital but
imbue it with soul, expression and personal involvement.
I'd rather go to see Russell or see performers such as Bream or
Dinnigan who put some personality, fire and interpretation into their
performances.
I didn't 'enjoy' the Galbraith recital. I felt I had attended an impressive
demonstration of introspection, flawless technique and new ideas in
instrument/acoustic technology. That all got in the way of the 'guitar
recital' I thought I had bought a ticket for.
I've thoroughly enjoyed recitals by many virtuoso, middle-ranking and even
mediocre performers because they were communicating music to me in the
spirit in which I feel it should be played.
Norman
Patrick Read
Rick Teichler wrote:
In article <20001018223846...@nso-ff.aol.com>, lute...@aol.com (Kent Murdick) writes:
>To the rmcg group,
>
>Has anyone there noticed (how could you fail not to) that guitarists today fall
>into two groups. There is Paul Galbraith and then there is all the rest of
>the guitarists. Although not the most sensitive player out there, Galbraith
>plays on an entirely different level than everyone else, and not by a small
>margin. Of course it could be argued that PG doesn't really play the guitar.
>His instrument has two more strings and he holds it funny. But other players
>have added strings and are still considered guitarists.
>
>My opinion is that we are seing the future in PG. It is is just like when the
>Baroque guitar gave way to the more versitile modern guitar with more strings
>and a different tuning. There had to be a first player out there to pave the
>way. So what do you guys think? Is PG a freak or the future?
>
>*****************************************************
>
Well, you could do away with the special chair he travels with, scrap the sympathetic
sound box from floor level, get rid of the double foot-stools, and shorten the post on the
guitar. Then you'd have an instrument you could play with both feet flat on the floor,
and that had nearly the same size and portability as your current guitar. But the guitar
itself is a bit different structurally from a normal classical guitar, so the entry cost
for students is going to be higher for quite a while (i.e., a custom-built instrument).
And aside from Paul Galbraith himself, from whom does one learn the best techniques for
playing a fretted instrument held like a cello?--there aren't too many viola da gamba
instuctors out there.
I've seen him perform, and it was truly an extraordinary musical experience. But I don't
think he'll be widely copied, or that the 8-string guitar will be replacing the dominant
6-string in any near future. He's not a freak or the future, just a special musical gift
to our generation.
--
Rick Teichler
Lutemann
(MtthwMtchll) writes:
>Paul Galbraith is boring.
Yes, that is a problem, but it misses the point. Galbraith sounds like a
guitar duo when he plays.
Ken Ross
Technically impressive but didn't move me. I haven't heard him since he moved
to Brazil and got into some new stuff, maybe I'd like him now. Has anyone seen
him with his quartet? I passed on it based on my previous negative
experience. I frankly found his rig to be way over the top, I was waiting for
blast-off after he strapped himself in. If you want more strings to play
baroque music, how about the arch guitar? James Kline plays one, no amp, no
get-up, but plenty of power. My wife cried after his first piece. He probably
doesn't possess the same level of technical virtuosity as PG (certainly not the
same level of fame) but his transcription and interpretation of early music has
really got soul. JMO
Ken
John Philip Dimick
>If you want more strings to play
>baroque music, how about the arch guitar? James Kline plays one, no amp, no
>get-up, but plenty of power. My wife cried after his first piece. He
> probably
>doesn't possess the same level of technical virtuosity as PG (certainly not the
>same level of fame) but his transcription and interpretation of early music has
>really got soul. JMO
>
>Ken
I heard James Kline play a few nights ago -- and now I want a 13-string arch
guitar! While James' concert was not flawless (and I couldn't care less), he
produced more MUSIC in 90 minutes than most stunt-guitarists can produce in a
lifetime.
John Philip Dimick
j...@guitarist.com
www.guitarist.com
dave payne
Dave Payne
the...@interlog.com
David Schramm
DS
Julian Lewis
and logical, the wrist is completely flat. I would very much like to
try this position out, but for the practical difficulties of grafting a
steel stick onto the bottom. A good idea would be a device a bit
like a guitar stand that would allow playing in the new way. I don't
suppose any one knows if such a device already exists ?
PS any one who says PG is boring, I challenge to play better.
He is in my opinion the Glen Gould of guitar, along with Goran
Schollser (I hope I spelled that OK)
Julian
"Lutemann" <lute...@aol.com> wrote in message
news:20001018223846...@nso-ff.aol.com...
tim
news:8sp63q$1hb$1...@sunnews.cern.ch...
> I agree, holding the guitar in the cello position is very relaxing
> and logical, the wrist is completely flat. I would very much like to
> try this position out, but for the practical difficulties of grafting a
> steel stick onto the bottom.
You can play the classical guitar in the conventional position with a
completely flat & straight wrist, it is no big deal. Many contemporary
players play like this.
--
TJ
tim
completely flat & straight wrist, it is no big deal. This is how I was
taught.
Julian Lewis
The both feet flat on the floor bit requires an A frame or a PG-Stand.
But I like the foot rest because I like the neck angle to be high, which I
find difficult to maintain with an A-frame. Each according to his taste.
I do like the look of PGs position, he looks so comfortable with his eyes
shut, laid back in his chair with his feet up high.
The other advantage, it would seem to me is that his arms don't rest on
the sharp edge of the guitar body.
Doubtless, he could play in the classic position, but prefers his set up.
I would just like to try it out for a while.
Julian
"tim" <tim@noreply> wrote in message
news:39f01...@news.netdirect.net.uk...
> Julian Lewis <Julian...@cern.ch> wrote in message
> news:8sp63q$1hb$1...@sunnews.cern.ch...
>
> > I agree, holding the guitar in the cello position is very relaxing
> > and logical, the wrist is completely flat. I would very much like to
> > try this position out, but for the practical difficulties of grafting a
> > steel stick onto the bottom.
>
> You can play the classical guitar in the conventional position with a
> completely flat & straight wrist, it is no big deal. Many contemporary
Arthur Fossum
I saw The Brazilian Guitar Quartet in the spring, and interestingly enough,
one of the other guitarists plays a guitar similar to PGs but without the
resonator box or the support pole(he plays it like a cello though). At the
beginning of the program they sounded unbalanced ( they played a Bach
Orchestral suite) with PGs guitar sounding much fuller and slightly louder
than the other guitars. As the concert went on, and they went into their
Brazilian repertoire they sounded fantastic, each guitarist was distinct
and well balanced( not like LAGQ which sounds like four of the same
guitarist playing at once) but I am unsure if this was due to them "warming
up" or their familiarity with the repertoire. A far as this being the
future, it may be a possibility if more players were to adapt his style of
instrument.
Patrick Read
Sorry, Glenn (two n's) Gould he is not. Gould would never give such a labored
rendition of the Chaconne. Even in slow pieces he kept you on the edge of your
seat.
Julian Lewis wrote:
> I agree, holding the guitar in the cello position is very relaxing
> and logical, the wrist is completely flat. I would very much like to
> try this position out, but for the practical difficulties of grafting a
> steel stick onto the bottom. A good idea would be a device a bit
> like a guitar stand that would allow playing in the new way. I don't
> suppose any one knows if such a device already exists ?
>
> PS any one who says PG is boring, I challenge to play better.
> He is in my opinion the Glen Gould of guitar, along with Goran
> Schollser (I hope I spelled that OK)
> Julian
>
> "Lutemann" <lute...@aol.com> wrote in message
> news:20001018223846...@nso-ff.aol.com...
Joe Cunningham
guitarists will find it socially acceptable) - both feet are on the floor,
your back is straight, no need for anything but the guitar and your fingers.
Simplicity defined. Oh and the neck angle is as high as you want.
JC
"Julian Lewis" <Julian...@cern.ch> wrote in message
news:8spbe2$3st$1...@sunnews.cern.ch...
>
> The both feet flat on the floor bit requires an A frame or a PG-Stand.
> But I like the foot rest because I like the neck angle to be high, which I
> find difficult to maintain with an A-frame. Each according to his taste.
> I do like the look of PGs position, he looks so comfortable with his eyes
> shut, laid back in his chair with his feet up high.
> The other advantage, it would seem to me is that his arms don't rest on
> the sharp edge of the guitar body.
> Doubtless, he could play in the classic position, but prefers his set up.
> I would just like to try it out for a while.
> Julian
>
> "tim" <tim@noreply> wrote in message
> news:39f01...@news.netdirect.net.uk...
> > Julian Lewis <Julian...@cern.ch> wrote in message
> > news:8sp63q$1hb$1...@sunnews.cern.ch...
> >
> > > I agree, holding the guitar in the cello position is very relaxing
> > > and logical, the wrist is completely flat. I would very much like to
> > > try this position out, but for the practical difficulties of grafting
a
> > > steel stick onto the bottom.
> >
Lutemann
<Julian...@cern.ch> writes:
> I agree, holding the guitar in the cello position is very relaxing
>and logical, the wrist is completely flat. I would very much like to
>try this position out, but for the practical difficulties of grafting a
>steel stick onto the bottom. A good idea would be a device a bit
>like a guitar stand that would allow playing in the new way. I don't
>suppose any one knows if such a device already exists ?
I don't think the cello position is the reason PG plays so well. It's the fact
that he added a high string and a low string which makes playing the guitar
about half as difficult and/or allows the impossible in many cases. Of course
PG is a good player anyway.
The cello position could be done with some sort high friction cushion or rubber
cloth on the lap. This position may simplify technique considerably
Norman Dryden
Julian Lewis wrote in message <8sp63q$1hb$1...@sunnews.cern.ch>...
>
>PS any one who says PG is boring, I challenge to play better.
>He is in my opinion the Glen Gould of guitar, along with Goran
>Schollser (I hope I spelled that OK)
>Julian
I didn't enjoy the one Galbraith recital which I intended. The fact that he
is a vastly better player than I ever will be is irrelevant.
Norman
doug jones
way of my attendance and I stayed at home.
Sent via Deja.com http://www.deja.com/
Before you buy.
Kyrre G. Laastad
| I didn't enjoy the one Galbraith recital which I intended. The fact that
he
| is a vastly better player than I ever will be is irrelevant.
agree, but how did you manage to not enjoy a Galbraith recital??? That man
is the best guitarist out there, His Dowland and his Bach, the Nocturnal,
the Haydn, he plays it all fantastic.
| Norman
--Kyrre
Lutemann
<kgeithusSpammerss...@online.no> writes:
>agree, but how did you manage to not enjoy a Galbraith recital??? That man
>is the best guitarist out there, His Dowland and his Bach, the Nocturnal,
>the Haydn, he plays it all fantastic.
>
You are correct, it is fantastic, but I really think PG should put more into
the music. He doesn't do unmusical things like Williams and Segovia, but he
doesn't do enough either. PG should listen to Bream and Pepe Romero for cues
on where to go next. He needs to exaggerate what he is doing now and add a bit
more. The people out there who do not recognize that PG has brought the guitar
to a new level are just not listening or don't know how to listen. I believe
that he has made a more important step in CG development than Segovia . If PG
doesn't carry this through, someone else will using what he has started.
*****************************************************
Kent Murdick
Sample from my new method book: http://members.aol.com/lutemann/book2.jpg
http://members.aol.com/lutemann/guitar.html
guit...@pacbell.net
<kgeithusSpammerss...@online.no> wrote:
>
>| I didn't enjoy the one Galbraith recital which I intended. The fact that
>he
>| is a vastly better player than I ever will be is irrelevant.
>
>agree, but how did you manage to not enjoy a Galbraith recital???
>
It would have to be due to 1) ignorance 2) jealousy 3) a combo of 1 &
2!
>
That man
>is the best guitarist out there, His Dowland and his Bach, the Nocturnal,
>the Haydn, he plays it all fantastic.
>
Absolutely (well, one of them!) Why do people have problems with those
who raise the standards?
John
DReyno1297
The Galbraith concert was the first concert I have ever left half way through.
He simply played the notes with zero emotion or attention to phrase shape. I
sensed it wasn't even an interest for him to do so.
I would be happy to play the giga from the first lute suite "better" for you
if you ever meet me, at least by the above criterion.
David
Lute1227
the guitar but not necessarily to music. I respect him for all the effort he
must have exerted to attain his technical prowess.I mean we have to give it up
for him realizing or actualizing his approach and intention. He has done what
he has set out to do and it must have taken a lot of courage to be so
unorthadox. But the problem I have with him is about the music. Generally
speaking ,I find everything he does to be about him(like his grossly over
exaggerated intellectualized ornamentations) and not the spirit of the music.I
know many will probably disagree with me but I'm tired of just great guitarist
who are boring musicans.Maybe I'm still too new at this but I'd like to know
from others exactly where in his Bach recordings or any for that matter, does
it feel inspired?Whrer is he singing it?Do guitarists just listen to
guitarist? Is that the problem. There's no abandonment in the fast tempos.It's
like your on the Audabon wanting to be in a porshe but find yourself in a
clunky old stationwagon . It's boring . I find Galbraith's recordings to be
manipulating -they must be very close-miked .It hurts to listen to them -it's
like your wearing his guitar as a hat or something.There's no imagery. Whenever
I buy a Galbrath recording I have the same antisapointment for it sonically and
it delivers. I don't usually make it through the whole thing. Whoever records
the Pearl/Gray duo or David Russell should record PG.Also, every note of PG's
has the same timbre and I find that very boring.The guitar is not a piano .It's
very interesting to me how the pianists get so much more poetry out of an
instrument who's timbre comparatively can't be changed.Yes I realize they do
it with volume But we do have Dammann's now right?I think pianists show up
and think about it a lot more than guitarists. GB's every note sounds the same
volume too like a midi file.But I feel that way about Barreuco too.So what If
they both can play a note-perfect Bach sonata .What does it matter if you the
listener don't feel anything and just say I respect them as guitarists and
fall asleep.I heard Zanon play at Carnegie recital hall and it was
life-changing. Even when he played El decameron Negro , as familiar as we all
are with that piece, he literally left me in tears- it was like , I call it
Post-apocoliptic- it had such a lasing affect.His villalobos live was like
you'd never heard if before -like it was brand new music.Yes he missed a few
notes in riveting Scalatti sonatas (i'm sure he's nailed perfectly on other
occaions)and he briefly struggled with the tuning/humidity thing but it all
did'nt matter because he was going for it ! It was'nt phd talking it was a
massive musical talent the hears music on such a high level that can't be
localized and thusly dwarfed by the guitar.and for that reason, I so much
prefer the Pearl/Gray duo to the Assads.I'll see Fabio Zanon or Kevin Gallager
or Antigoni Goni or Michael Troster or Tillman Hopstock or Kappel any day
before Barrueco or Williams or Isbin. and Bream is the King in my opinion.I
get involved as a listener with him . Every note is like it's his last. What
soul ! In my opinion , If Horowitz or Kissin were to be ressurrected as
guitarists ,they'd sound alot more like Bream than Galbrath so I don't think
Galbrath is the direction of " music" from the guitar.I really think that many
with a lot less facility have said more musically and that's what works for me
but I always respect different poins of view as I'm still a newbie.
Norman Dryden
>In article <WjyI5.11998$W31.1...@news1.online.no>, "Kyrre G. Laastad"
><kgeithusSpammerss...@online.no> writes:
>
>>is the best guitarist out there, His Dowland and his Bach, the Nocturnal,
>>the Haydn, he plays it all fantastic.
>>
>
into
>the music. He doesn't do unmusical things like Williams and Segovia, but
he
>doesn't do enough either. PG should listen to Bream and Pepe Romero for
cues
>on where to go next. He needs to exaggerate what he is doing now and add a
bit
>more. The people out there who do not recognize that PG has brought the
guitar
>to a new level are just not listening or don't know how to listen. I
believe
>that he has made a more important step in CG development than Segovia . If
PG
>doesn't carry this through, someone else will using what he has started.
I recognise this 'new level' and 'know how to listen', but just don't think
it is important. Western Classical music is one of the few musical arenas
where people get hung up on technique, performance standards, details of
interpretation of the fixed written scores of dead composers. It also one of
the few musical arenas where people sit in silent concentration and where
there is academic criticism of the standard of the performer and
performance. To me, music is there because it stimulates the human senses
and emotions and I 'consume' it in these terms. My experience
of Paul Galbraith's recital was that it was too much introspection,
technique, and acoustic gizmos which got in the way of what I would enjoy as
a musical performance.
If, like Gould, he needs some remote ambience and can't express music
feeling directly to his audience, then that is fine for those who want to
treat music as an intellectual an interpretive exercise.
Norman
Julian Lewis
>
> If, like Gould, he needs some remote ambience and can't express music
> feeling directly to his audience, then that is fine for those who want to
> treat music as an intellectual an interpretive exercise.
>
> Norman
>
A most interesting observation. It wasn't that Gould couldn't do it, he
thought
it more useful and challenging to play to a microphone. After all its for
ever.
When I listen to his last recording of the Goldberg Variations, I tend to
agree
with him. Now that he is dead we still have his legacy, and I play it over
and
over again.
For PG, his recordings are excellent, and I do not understand why people
think
his music is unemotional. He plays Bach the way it should be played, and I
love
his Dowland.
Julian Bream (has he died recently, I heard a rumour), is/was a wonderful
player, very emotional, a little over the top, for my tastes, and his
technique
is a little tacky every now and then.
I guess its a trade off.
Julian
Julian Lewis
"Joe Cunningham" <joNseph_cOu...@yahoo.com> wrote in message
news:8spv0a$e...@dispatch.concentric.net...
> You might try the traditional Flamenco posture (not sure many classical
> guitarists will find it socially acceptable) - both feet are on the floor,
> your back is straight, no need for anything but the guitar and your
fingers.
> Simplicity defined. Oh and the neck angle is as high as you want.
>
Excuse my ignorance, but is sounds too good to be true. How the hell I
am
going to sit with both feet on the floor and have a high neck angle with no
mechanical aids ? The guitar will just flop down unless its supported !
What exactly is the position you are speaking of, do you have a picture, I
was
unaware of a special Flamenco position.
Julian
Julian Lewis
> In article <WjyI5.11998$W31.1...@news1.online.no>, "Kyrre G. Laastad"
> <kgeithusSpammerss...@online.no> writes:
>
> >agree, but how did you manage to not enjoy a Galbraith recital??? That
man
> >is the best guitarist out there, His Dowland and his Bach, the Nocturnal,
> >the Haydn, he plays it all fantastic.
> >
>
> You are correct, it is fantastic, but I really think PG should put more
into
> the music. He doesn't do unmusical things like Williams and Segovia, but
he
> doesn't do enough either. PG should listen to Bream and Pepe Romero for
cues
> on where to go next. He needs to exaggerate what he is doing now and add a
bit
> more. The people out there who do not recognize that PG has brought the
guitar
> to a new level are just not listening or don't know how to listen. I
believe
> that he has made a more important step in CG development than Segovia . If
PG
> doesn't carry this through, someone else will using what he has started.
>
> Kent Murdick
> Sample from my new method book: http://members.aol.com/lutemann/book2.jpg
> http://members.aol.com/lutemann/guitar.html
>
>
Two points,
with the 8 strings and the weird fret angles, it is impossible to do a
barre. At least when I watched
him in Edinburgh during the festival, I did not see him use a barre ever.
With the two extra strings
you get 1st and 5th position without actually changing, is this true or was
I not watching close enough.
I have been informed that John Williams has changed dramatically, and that
his last CD was a
renaissance for him. My teacher who hates him, in general, told me that he
changed his mind completely
on hearing it. I think the title has something to do with film music.
Julian
Kyrre G. Laastad
into
| the music. He doesn't do unmusical things like Williams and Segovia, but
he
| doesn't do enough either.
To me it sounds like he really puts his heart and soul into the music...If
you`ve noticed his breathing during a concert, I got the impression that the
guy was almost in a trance... But I agree with one thing, and that is that
he don`t play romantic music too well, that`s where his weakness are. He
played La fille aux chevaux de lin by Debussy, and it wasn`t too good. but
`cept for that, the recital I went to was fantastic.
| PG should listen to Bream and Pepe Romero for cues
| on where to go next. He needs to exaggerate what he is doing now and add a
| bit more
The only thing in my hopinion that he needs more of is tone variation, he
plays with the same beautiful clear tone almost all the time. Just a little
variation here and there, and it would be perfect. But if you listen to his
Haydn, how can you say that he plays unmusical? It sounds very much like
music to me. And he does put his heart and soul into the music, I swear that
in the end of Britten`s Nocturnal, where Dowland`s theme kicks in, he was
almost crying...to me that was a life changing moment, for the first time I
realized how fantastically beautiful music can be. I almost started to cry
as well. It was just overwhelming.
perhaps those who critizise him had different experiences, but for me it was
one of the best concerts I`ve been to ever, and by far the most beautiful
guitar recital.
. The people out there who do not recognize that PG has brought the
guitar
| to a new level are just not listening or don't know how to listen. I
believe
| that he has made a more important step in CG development than Segovia . If
PG
| doesn't carry this through, someone else will using what he has started.
I think that he will change the way we look at the guitar, The only thing is
that he almost exclusively plays transcriptions, not much original guitar
music. that is a loss to the guitar world. And I for one cans say that my
next guitar will have 8 strings and probably also a metal leg like Paul`s. I
allready use a device called Arm`N Track for guitar support and it allows me
to sit with my guitar very high, and much mnore natural than the footstool.
Regards,
--Kyrre
Symphony
hearing the extra strings, but I actually began to semi-dozing head-nods
half-way through. Perhaps the tequila the night before. Anyway, he seemed a bit
detached, and I also became detached. The fellow next to me complained "hearing
him breathe is driving me crazy," and got up and left (I guess I am going deaf,
because I couldn't hear it). It was clear that many people loved his
performance, and I am glad to have experienced the novelty once.
larry...@my-deja.com
> For PG, his recordings are excellent,
> and I do not understand why people
> think his music is unemotional.
Many people see music as mostly entertainment. They often don't care
for subtle flavors and textures and want to be blown away with
emotional excess. It's the same in all fields so don't think it's
exclusive to classical music. Most people are very superficial in their
taste in food, music, art, books, TV, movies, sculpture, etc. Just look
at what is popular and ask why all of it is overtly catering to strong
emotional reactions then you will understand that if everything one
eats has salt any spices on it then anything without salt and spices
will seem unpalitable.
> Julian Bream (has he died recently, I heard a rumour),
This is an awful thing to post. Be VERY careful about posting such
things in public forums as they tend to proliferate and cause colateral
damage to innocent people. It would be nice if someone could update
this NG on his status now that you've opened this door.
Joe Cunningham
Here are a few photos that might help with my description I sent earlier:
These are the best, exactly the position I had in mind-
http://www.globalphotos.com/categories/ENT/ENTGF001/ENTGF001006-A.htm
http://www.globalphotos.com/categories/ENT/ENTGF001/ENTGF001005-A.htm
These are OK -
http://www.flamenco-world.com/magazine/fotos/lectores/8-6-a.jpg
http://www.flamenco-world.com/magazine/fotos/lectores/6-8-2.jpg
http://www.flamenco-world.com/magazine/fotos/lectores/8-4-5.jpg
http://www.flamenco-world.com/magazine/fotos/lectores/2-4.jpg
JC
"Julian Lewis" <Julian...@cern.ch> wrote in message
news:8t10t1$cva$1...@sunnews.cern.ch...
Stephen G. Carl
>
> I have been informed that John Williams has changed dramatically, and that
> his last CD was a
> renaissance for him. My teacher who hates him, in general, told me that he
> changed his mind completely
> on hearing it. I think the title has something to do with film music.
>
> Julian
If you're referring to John Williams Plays the Movies, that was pure
muzak. Does your teacher like elevator music?
server
>
> "Julian Lewis" wrote:
> > For PG, his recordings are excellent,
> > and I do not understand why people
> > think his music is unemotional.
> >
>
> This is an awful thing to post. Be VERY careful about posting such
> things in public forums as they tend to proliferate and cause colateral
> damage to innocent people. It would be nice if someone could update
> this NG on his status now that you've opened this door.
>
I think what he meant to say was that Julian Lewis died recently.
Tony Morris
Mark Westling
Julian Lewis
Sory you are correct, it was very stupid and thoughtless of me to say
that.
Julian
>
> This is an awful thing to post. Be VERY careful about posting such
> things in public forums as they tend to proliferate and cause colateral
> damage to innocent people. It would be nice if someone could update
> this NG on his status now that you've opened this door.
>
>
>
Hesham Khalil
>
> Here are a few photos that might help with my description I sent earlier:
> These are the best, exactly the position I had in mind-
> http://www.globalphotos.com/categories/ENT/ENTGF001/ENTGF001006-A.htm
> http://www.globalphotos.com/categories/ENT/ENTGF001/ENTGF001005-A.htm
Surely a wonderfully ergonomic position of the guitar!
But, like Julian, I am wondering how is it possible to hold the guitar
this way without risking that it flops down or bounces while playing. It
appears to me as if the pictured guitarrists would use some "invisible"
support...
Hesham Khalil
Joe Cunningham
The right arm acts as a counterweight, and since Flamenco guitars are
generally lighter, it is pretty easy to hold them that way (I don't have a
traditional Classical). It took me a little while to get used to it (like 1
hour) but it is the only way I play anymore. One thing you should know - I
usually use an old chamois cloth or something like that on my right thigh.
The friction/stickiness of it seems to really help hold the guitar in place.
JC
"Hesham Khalil" <kha...@intellektik.informatik.tu-darmstadt.de> wrote in
message news:39F560...@intellektik.informatik.tu-darmstadt.de...
D Steward
Or could it have been the Black Decameron?
Incidentally, my teacher also hated him, not only as a guitarist but as a
person.
=D
johnpa...@my-deja.com
wonderful
> player, very emotional, a little over the top, for my tastes, and his
> technique
> is a little tacky every now and then.
>
> I guess its a trade off.
>
> Julian
>
>
failed to purchase tickets for a concert in December this year in
Cambridgeshire - sold out. He's given around a dozen or more concerts
this year, all in the U.K. and most of them in National Trust stately
homes. I think he's given up on the huge international tours and
concerts in large venues. He prefers to nurture his garden! No
recordings for five years, alas. I'm not sure whether that's the fault
of EMI or that his favoured recording venue at Wardour Castel chapel is
being renovated. I'd love to hear a recording of Tippett's "Blue
Guitar" from him. I'd also like to see him get a knighthood in the New
Year's honours list, after 50 years of concertising and inspiring
players, composers and the public.
Sent via Deja.com http://www.deja.com/
Before you buy.
Bob Ashley
> Julian Bream is very much alive and still plucking. I just tried and
> failed to purchase tickets for a concert in December this year in
> Cambridgeshire - sold out. He's given around a dozen or more concerts
> this year, all in the U.K. and most of them in National Trust stately
> homes. I think he's given up on the huge international tours and
> concerts in large venues.
What I like about this post is that it recounts a 'coming-home' story;
Guitar returns to parlor after emigrating to palatial hall. The relentless
push towards 'bigness', in venue, in guitar sound power, seems to me, not
unlike the story of the 90-pound weakling--sand kicked in face at beach--
trying to Joe Weider.
Intimacy has taken a back seat for too long. It's nice to hear that Bream
has carried that chair right back to the place it belongs...within
spitting distance or a rose's throw, depending on one's favorite
projectile.
rib
******************************
guit...@pacbell.net
people so lazy that they cannot create a new thread?
John
Bob Ashley
> Just how does all of this relate to the topic of Paul Galbriath? Are
> people so lazy that they cannot create a new thread?
I'll bet you have no dirty dishes in your sink!! You're right, this joint
was beginning to look like a real dump.
Pass me the Brillo pad, got some stubborn stains to rid.
rib
******************************
Erasmus Harland
Northumberland. He performed an excellant programme - Bach 6th cello
suite - Torroba Sonatina, 3 pieces by Albeniz, he remains a major
artistist, which is not to say that he never makes a mistake. He is one
of the only guitarists who can play legato, his repeats are always
different, and his musically remains in full force.
Kevin McGowin
> >My opinion is that we are seing the future in PG. It is is just like when the
> >Baroque guitar gave way to the more versitile modern guitar with more strings
> >and a different tuning. There had to be a first player out there to pave the
> >way. So what do you guys think? Is PG a freak or the future?
Neither. (The old "either-or fallacy"). Galbraith's a hell of a musician
and I love his work. But did we go back to the future on Julian Bream's
lute, or did cellists give it up during that viola da gamba revival?
KM