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Thanks John! Actually, I remember getting the recommendation of Grumiaux from someone on rec.music.theory. Kind of spoils it for me with other players!
I'm playing the blanca you made for me right now... :)
I must say I am very impressed with your taste in music and musicians. I think I have every recording Grumiaux made. He was simply the best.
I dont know if he was the best, but his recordings of Bachs sonatas and partitas are fantastic and so is all his work on Mozart. On more recent repatoire, I have heard very few things recorded by him, and I doubt very much that his ligth and elegant style will suit the romantic composers, Shostakovitch, Schönberg, Bartok etc. My all time favorite for that kind of music is David Oistrach who really touches me deeply. Dark and brilliant at the same time.
I dont know if he was the best, but his recordings of Bachs sonatas and partitas are fantastic and so is all his work on Mozart. On more recent repatoire, I have heard very few things recorded by him, and I doubt very much that his ligth and elegant style will suit the romantic composers, Shostakovitch, Schönberg, Bartok etc. My all time favorite for that kind of music is David Oistrach who really touches me deeply. Dark and brilliant at the same time.
Just yesterday I was listening to Grumiaux play some Ravel, Lalo, Faure and Albeniz. I'd call those romantic composers. I can't comment on Schonberg or Bartok since I refuse to listen to them. I agree with you that Oistrakh was definitely on par with the tier one violinists like Grumiaux, Menuhin, Heifetz, Francescotti, etc. This is off topic for a flamenco forum so I'll say no more.
My all time favorite for that kind of music is David Oistrach who really touches me deeply. Dark and brilliant at the same time.
Plus one for Oistrakh. He really excells on late romantic music (amongst which I include the concerti Shostakovich wrote for him) did you get the Beethoven Concerto I put up a couple of months ago ?
For players of his and Grimaux' generation the American Nathan Milstein deserves a mention with regards to Bach. Here is some inspiration for our octagenarian members and those not yet fifty and feeling old.
Note his very poised and relaxed physicality !!!
For more modern players of Bach I like the two young germans. On period instrument Rachel Podger and spitting fire on steel Hilary Hahn.
That probably should be singular tho Brit Guy is very close.
This gets my vote for best interpretation based mostly on tone as she plays it on a viola (I think) She does an ascending bass line in the rapid arpeggio variation that is knockout.
That probably should be singular tho Brit Guy is very close.
This gets my vote for best interpretation based mostly on tone as she plays it on a viola (I think) She does an ascending bass line in the rapid arpeggio variation that is knockout.
.
I am enjoying that Aeolus. But I note that it is in the key of D not G. Maybe the gut strings of the period setup make is sound like a viola.
Note that no lines are broken to ease fingering transition.
Viktoria Mullova plays on the Jules Falk Stradivarius from 1723 and an violin made in 1750 by Giovanni Battista Guadagnini. Her bows include a Baroque style bow by a modern maker, a Dodd and a Voirin.
Fakemenco? I just got his 1966 recording of the Aranjuez and he takes the first movement at a gallop! The guys got fingers.
I am enjoying that Aeolus. But I note that it is in the key of D not G.
Yeah, thats beautifull and its definately a violin. I think its unplayable on a viola. Viola players normally play the cello suites and not the partitas and sonatas for solo violin. I think you have to be extremely good to play them on a viola and it might be impossible.
The Chaconne has always been in Dminor. Its part of the second partita for solo violin which is in Dminor. I played most of the pieces, except the chaconna which is very difficult, some 25 - 30 years ago.
I actually like the 3rd sonata (Cmajor) a lot. The fugue is awesome and very very difficult.
Viktoria Mullova plays on the Jules Falk Stradivarius from 1723 and an violin made in 1750 by Giovanni Battista Guadagnini.
A simple thank you for the correction would have sufficed.
In case you hadn't worked it out the convention is when playing solo Bach on the viola to play it a fifth lower as this maintains the original fingerings.
Behrend liked Sabicas well that's nice. You think he can play fast... so what ?
A simple thank you for the correction would have sufficed.
In case you hadn't worked it out the convention is when playing solo Bach on the viola to play it a fifth lower as this maintains the original fingerings.
Behrend liked Sabicas well that's nice. You think he can play fast... so what ?
I actually like the 3rd sonata (Cmajor) a lot. The fugue is awesome and very very difficult.
On viola it would be played in G and the fingering would be the same.(at least in the opinion of Yehudi Menuhin who reccomended the playing of all repetoire a fifth lower on viola) he said he played all of his repetoire in this way.If it had been a viola it would have been in G. I struck the d string of my guitar to assure myself that it was not.
I like the Cmajor too, it sits nicely on the guitar straight off the page.
I like the Cmajor too, it sits nicely on the guitar straight off the page.
D.
Here is the prelude (not very good but for some reason youtube has resynced the audio. I never got round to redoing it as my mic doesn't communicate with windows 7). If nothing it proves that too much speed is not a good idea.
Wat happened to the Bach prelude? And do you always use a flamenco guitar? Impressive speed on the prelude but yeah maybe too fast. I've got a guitar version in my head and can't remember who is playing it. JW maybe.
This is what i started to post for this thread and then decided it was too blurry as I had seen it several years ago and was enchanted. Comparing it to what I posted at the head of this thread this IMHO is much better as the guitar is subdued allowing the singer to dominate. Paco is too virtuoustic player for this.
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