![]() Studio 1 Emilio Pujol Escuela Razonada III - Flavio Sala, guitar. Rather than keeping a consistent pulse throughout each melody, Gomez will delicately pause before a large leap, expressing the varying contour of the composition.Pieces range from easy to hard. In addition, Gomez exhibits a song-like sensitivity to the melodies, perhaps influenced by his work with flamenco singers. Specifically, he often rushes the third beat of the Mazurka into the next downbeat, occasionally holding the third beat to punctuate the phrases. In his recording of Tarrega's Mazurka, "Marietta," Gomez executes each phrase with tempo rubato. His performances in both genres can be heard in his many recordings, which reveal his technical power and unique interpretive abilities. ![]() Gomez was equally at home in the genres of classical and flamenco, making him a particularly distinctive and beloved performer. After his triumphant 1938 debut at New York's Town Hall, Gomez went on to star in the Broadway Revue Mexicana and to be featured in his own regular NBC broadcast following Arturo Toscanini's famous radio show with the NBC Symphony Orchestra. The Spanish guitarist Vicente Gomez (1911-2001) was a significant cultural icon of the twentieth century. "Augustín Barrios", El Maestro Records (EM 8002) While other guitarists strung their guitar with gut, Barrios chose steel strings, resulting in a bright, sustained tone quality that can be heard in his recordings. Notably, Barrios uses steel for his treble strings (the upper three strings of the guitar). In addition, Barrios frequently executes eighth notes with lilt and rhythmic swing, creating a dance-like effect. However his use of a flexible pulse does not compromise the shape of the musical gesture. The recordings reveal Barrios' spontaneous and free-flowing sense of tempo, with frequent surges forward. The musical poetry of Barrios' compositions can also be heard in his interpretive grace as a guitarist. From 1912 to 1928, Barrios recorded most of his surviving output on 78 rpm records, including performances not only of his own compositions, but also those of Fernando Sor, Francisco Tárrega, and J.S. Known as "the Paganini of the guitar from the jungles of Paraguay," Augustín Barrios Mangoré (1885-1944), generally referred to as Barrios, w as one of the most imp ortant guitarist-composers of the first half of the twentieth century. ![]() At the same time, however, the performance styles of flamenco and South American folk music seem to also be present in many early recordings of guitarists, resulting in nuanced and artful articulations and manners of phrasing. In general, guitarists' varied use of portamento and rubato in recordings is comparable to violinists, cellists, and orchestras of the time. The folk styles which surrounded classical guitarists, including flamenco, also played a major role in both the composition and performance style of many guitarist-composers. The Spanish national style pervades throughout the early recorded legacy of the classical guitar. You have excellently supplied this want, adding your own magnificent personal contribution, and you have thus benefited not only the performer but also the composer of sensibility, who will find in your Method the stimulus to discover new instrumental possibilities." ![]() Since the far-off times of Aguado, we lacked a complete Method which would pass on to us the technical progress which Tárrega initiated. With what emotion do we find its clear echo in Scarlatti, in Glinka and his disciples, in Debussy and Ravel!. And more, the history of music itself shows us its magnificent influence as a means of transmitting throughout Europe the essence of the musical sound of Spain. In the preface to Pujol's Guitar School (1933), Manuel de Falla writes: "One must acknowledge that the guitar, of all stringed instruments with a fingerboard, is the most complete and the richest in its harmonic and polyphonic possibilities. This change in playing style, which later became known for its Spanish nationalist character, went on to influence the many of the playing styles and techniques of 20th century performers. While there are no known sound recordings of Tárrega, many of his students, inlcuding Emilio Pujol, made recordings and wrote method books on the technique of the guitar. Guitarist and composer Francisco Tárrega (1852-1909) is often considered to have been a major influence for a shift in playing styles during the late 19th century. The 19th and 20th centuries saw significant developments in the performance practice of the guitar. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |