Oscar Ghiglia Discography?
David Schramm
Does anyone know of one online?
Thanks,
--
David Schramm
Clovis, CA
http://schrammguitars.com
http://onlineapprentice.com
Jackson K. Eskew
Funny you mention him. I recently bought a CD compilation where he
performs Recuerdos. It's the worst professional performance of it I've
ever heard. It's as if he started working on tremolo the week before
recording it. I couldn't believe it. But perhaps he had a bad day.
Arthur Ness
http://worldcat.org/searchbox/searchbox.jsp?ai=Arthur_Arthur_Ness
Type in "Oscar Ghiglia" in the small box (no quotation marks). You'll get
about 60 "hits," including works about his grandfather, a famous artist
(friend of Modigliani). To
reduce this, scroll down the left column and click on "sound recordings."
You'll get 31 items, including some tapes of "faculty recitals." Put in
your ZIP Code, and then you can see the libraries holding each item. For the
works recorded, click on the tab marked "Details."
You can also find the works performed by clicking on one of the Libraries
and looking at the catalogue entry. That entry would give you more
information than the basic "Details" block.
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"David Schramm" <ddsc...@comcast.net> wrote in message
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Lutemann
technique correctly from the beginning. Some one on this list onece
asked why Shearer only taught basic technique in his books. The reason
is that more than 90% of all guitarists and even many so-called
professionals (Isbin, Ghiglia, P. Romero come immediately to mind) lack
impotant basic technique which limits their ability to reach anything
near their full potential.
ktaylor
Lutemann wrote:
> Oscal Ghiglia is the poster child for why you need to learn basic
> technique correctly from the beginning. Some one on this list onece
> asked why Shearer only taught basic technique in his books. The reason
> is that more than 90% of all guitarists and even many so-called
> professionals (Isbin, Ghiglia, P. Romero come immediately to mind) lack
> impotant basic technique which limits their ability to reach anything
> near their full potential.
On the one hand, your post could be considered obnoxious - something
from which this group has had a refreshing respite - but those of us
who are familiar with you realize it is simply the returning theme in
your personality rondo. Your comment does beg some questions, the
answers of which may take the thorns from your post and turn it into
something fruitful.
Is "basic technique" the same as beginning technique?
If it is, then is there a "correct" beginning technique and an
"incorrect" one?
Assuming most musicians begin with a period (it may be short or long)
of autodidacticism, and that the chance a beginner happening onto
"correct" technique is slim, doesn't that suggest that most players'
beginning technical development is flawed?
If "basic technique" is not the same as beginning technique, then is it
possible to learn "basic technique" after one has learned beginning
technique that is not "basic" [correct]? Can one recover?
If that is possible, don't you think that the named artists know about
Shearer's books and perhaps even adopted (or discarded) the ideas
contained therein?
There are a number of professionals whose excellence predates the
publishing of Shearer's latest books or who never have encountered
them. Who taught them their "basic technique"?
Did Shearer say that he taught only basic technique in his books
because even the named professionals lack it, or did you just speculate
on Shearer's intent?
How do you determine the "full potential" of the named artists or any
player? At what stage in their learning process can you determine their
full potential.
What is the nature of that potential that you can determine: technical
speed? Finger dexterity? Left/right hand coordination? Tonal spectrum?
Volume range? Musicality? Professional career possibiity? Literacy?
Interpretive skill? Is there a way someone besides yourself can
determine a player's fulll potential before it is reached?
Do you think it is possible that professionals eschewed Shearer's
teachings because of the unsavory character and ferver of his devotees?
Kevin Taylor
Lutemann
>>>Is "basic technique" the same as beginning technique? >>>
Loosely speaking, yes.
>>If it is, then is there a "correct" beginning technique and an
"incorrect" one? >>
There are efficient techniques and inefficient teachniques. There is
no one efficient technique and there are a multitude of inefficient
techniques.
>>>>Assuming most musicians begin with a period (it may be short or long)
of autodidacticism, and that the chance a beginner happening onto
"correct" technique is slim, doesn't that suggest that most players'
beginning technical development is flawed? >>>>
Yes, that at is why I say that 90+% of all players are essentially
screwed. A good teacher can keep inefficient techniques from forming in
the first place.
More to come late
David Schramm
Matanya Ophee
>
>More to come late
See what you have done Kevin....
Matanya Ophee
Editions Orphe'e, Inc.,
1240 Clubview Blvd. N.
Columbus, OH 43235-1226
614-846-9517
fax: 614-846-9794
http://www.editionsorphee.com
http://www.livejournal.com/users/matanya/
Alain Reiher
Alain
"Arthur Ness" <arthu...@verizon.net> wrote in message
news:FL8kh.17398$sz5.11655@trndny03...
Arthur Ness
see about 8-10 of them by doing a Google search using the "Image" option.
(Ignore the zillion photos of the guitarist<g>) Four or five still lifes, a
seated woman, there's a
photo of him with his paint brushes (looks like Toscanni), a portrait by
another artist, a seascape. Fine work. He is deservedly considered a
19th-century Italian master. No question about that (imo).
Also try Google for "artnet" Three paintings auctioned. Alas I cannot
subscribe to find out how much they sold for.
Lots more reproductions in a magazine ititled Emporium, vol. 69 for 1929.
ajn
==============================================
"Alain Reiher" <rei...@telus.net> wrote in message
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ktaylor
Matanya Ophee wrote:
> "Lutemann" <lute...@aol.com> wrote:
>
> >
> >More to come late
>
>
> See what you have done Kevin....
>
Sorry. It was an idle morning.
Kevin
Arthur Ness
(Milan) three weeks ago for US$127,000.
"Arthur Ness" <arthu...@verizon.net> wrote in message
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Alain Reiher
Of course one have to be talented (and a hard worker) ...I was misinformed
... I thought that Oscar (the son) was also a painter!
Thanks for all those info.
Alain
"Arthur Ness" <arthu...@verizon.net> wrote in message
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Arthur Ness
much the grandfather's "miniature" still life fetched in 1918 when
it was painted. But he is surely the most famous of the painting Ghiglias,
one of the great masters
of Italian 19th century painting, I would expect. His son Paolo (father of
the guitarist) was also a successful professional artist. The son/grandson
seems to
dabble in cartoon-like drawings, but I don't believe it is a profession for
him.
That magazine Emporium is available down the street, and I'm going to take a
look at the other paintings by the grandfather. I certainly like what I've
seen so far.
Unless you deal in instruments, not much reaches that value in music. A
Brahms manuscript recently sold for something like $US250,000. But it was
Brahms, and Brahms manuscripts are very rare because when a work was
published, he destroyed the manuscript and sketches. A dealer in NJ has
Dowland's Third book of ayres for sale for $13,500 (marked down from
$15,000<g>). Ithinkit isthe copy once owned by the late Bob Spencer, and
English singer/lutenist. It is one of only seven that survive from the 17th
century. 1250 copies were printed originally. We know the number because
Mrs.Dowland (John was playing around in Denmark at the time) sued the
printer and the court records indicate how many were contracted. The
printer's assistants had printed extra copies and were selling them on the
side.
==ajn.
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"Alain Reiher" <rei...@telus.net> wrote in message
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