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Hey, How Paco made "Concierto De Aranjuez" different from other plays, say Segovia, Romero, Williams? The music sheet is the same, why and how the interpretation is different?
Paco's is in rhythm for one thing. The classical players tend to take their time moving from chord to chord, making difficult passages easier to play. Paco wanted to be true to the composer's intention.
Paco plays it the way it was written, plus he adds some great flamenco touches to it. He plays the strict time parts, in strict time.
Paco is the only one, in my ears, who makes it sound like a "spanish" guitar piece, and not just a classical piece of music. Rodrigo surely had flamenco in his ears when growing up, and you can trace it in his compostions. All other interpretations of Aranjuez sound light, and hollow in comparison to Paco's. Again, i mean in my personal opinion. Most "classical" guitarists dont like Paco's interpretation.
New, evocative, different, etc... These things dont fly in the classical world so well. They like to churn out carbon copies. Hell, Segovia didnt even like it when somebody changed a fingering. Im sure he would have a caniption fit if he heard Paco's Aranjuez. I love classical guitar, but i dislike the classical guitar community's attitude. Its a real shame. I guess there will be this sort of purist attitude in everything. We see it in flamenco alot too unfortunately. TK
Hey, How Paco made "Concierto De Aranjuez" different from other plays, say Segovia, Romero, Williams? The music sheet is the same, why and how the interpretation is different?
EDIT SORRY JASON BEAT ME TO THIS!!!
Segovia never played it. Many other players have problem interpreting the rhythms with the right spanish feeling....even spanish classical players. Part of the problem was, if any you guys tried it, is a lot is not truely possible to play on guitar AS WRITTEN. Rodrigo was a blind pianist after all, not a guitar player. Each guitarist has made his own personal version to some extent.
I made this little vid as a bad joke awhile back to make fun of Bream's interview with Paco Peña...which I felt was kind of snobby. I actually respect Bream a lot as a classical player, but at least this example shows the difference a little bit of basic rhythm strumming technique makes with the interpretation of such a piece.
Segovia played the Concierto, I have the MP3 of his playing.
Probably someone miss labeled it as him playing (where ever you downloaded it from?), but it is quite well known he did NOT play it. It was probably Yepes or Parkening etc you have heard. Segovia flat out refused to perform it since it was dedicated to Regino Sanz de la Maza (yeah great artists can be touchy) . Instead the Concierto para un Gentlehombre was for him, he did play THAT one by Rodrigo...which was not as good as Aranjuez.
Paco's is in rhythm for one thing. The classical players tend to take their time moving from chord to chord, making difficult passages easier to play. Paco wanted to be true to the composer's intention.
Same's true of Paco's rendition of DeFalla. You can really hear the flamenco palos.
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