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z6 -> RE: Paco's masterpiece (Apr. 11 2014 8:56:30)
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quote:
Leo Brouwer's music, for most classical guitarists, is essential repertoire because it is inventive, exploits the guitar's range of possibilities more than any other composer including Villa-Lobos, and is perfectly conceived for the instrument so that you get sort of maximum bang for the buck, so to speak.
Zzzzzzzzzzzz.......
quote:
I find it offensive and childish when great and celebrated artists are dismissed by those of us who aren't worthy artistically of cleaning their bathroom
You're being too hard on yourself. I'm available, but expensive, if Leo needs the 'music room' cleaned.
Mr.Pfg-flamenco, no need to get thy knickers in a twist. We get it. But I'm telling Villa Lobos what you said and I'm telling you he'll tear your fcking heart out. He's crazy.
What has the world come to when one cannot provide the fruit of a thoughtful and considered analysis without people coming and hitting one over the head with their masters degrees? I have a degree from the Cornhole School of Apres Concert Cocktail Sausage Chat and I can tell you that while Brouwer is 'essential' it is only essential if the aim is to empty the room of music lovers.
You have demonstrated my point, albeit your name suggests you can not only judge music more clearly than I but play it better. Worst of all, as you have the flamenco in your name your dck is much bigger than mine, thus I am lost.
However, you have taken us to the core of the matter. The lack of rigor. The delusions.
I haven't listened to the guys cited here, in order that you can scoff at will but, While I applaud all efforts to play Paco's music, it does serve as a litmus test.
The great thing about Brouwer, if yer a classical guitarist looking for essential repertoire that does something or other better than anyone else, including poor old Villa Lobos (he will be miffed I tell you), is that the audience have no idea if you are getting it right or wrong. (And don't forget all those cocktail sausages afterwards; the best part.)
But here we have the paradox. The same is true for Paco's music. These guys can plop a big smelly Brouwer right onto the front row using all their finely-honed apoyando and tirando skills (there are others but I am not allowed to divulge them here) and the audience is none the wiser. One might overhear the odd dissentful comment that the composer did not exploit the guitars' possibilities quite as deeply as that tune he wrote after a bad curry down at the Cuban Curry Shack, but any errors or mistakes or sloppiness, or waggling heads or tongues sticking out or squeaks and other extraneous crap must all have been written. It is therefore valid. The actual sound becomes a non-issue. There is simply a space from which tones spawn and all is good, all is worthy.
However, when we hear Paco played by someone who thinks if he can figure out the timing from the score then his rascuedos will be picture-perfect, we hear something quite different.
It's Grisha I feel sorry for. Here is a guy who can play Paco. But those audiences, versed in those who exploited the instrument in this way and that, can they tell the difference? (Never mind Grisha, a broader audience, unhindered by **** theories and planted tastes can.)
Bach wasn't around to kick Segovia's arse (oh dear, there I go again, I am nothing, scum I tell you, scum! How dare I?).
But this, how you call it? Flamingo muzak? It reveals the fundamental flaws in basic technique that seem to be built-in to the actual 'theory' of it. That some individuals almost overcome those handicaps, to play 'classical guitar' seems miraculous.
I don't like the Spice girls either. Can I clean their toilets too please? Or will you come to their rescue with your mighty masters degree! My dad's got a pee aych dee and he's coming round to your house.
Lighten up. As long as these delusions persists we philistines have a duty to show the shape of our brow. (no, no I promised grandpapa that I would never pun again!)
Hands up anyone who ever played Brouwer in a resuarant, all night long. Now, how many people were still there at the end?
Brouwer may have done all the things you say. He may be important (when tiny little pork sausages are the only thing at stake) he may be a giant, a great genius towering above us all ('xcept you and the other people who talk about it as if it were not a ruse) but it is not awful music, like the Spice Girls; it isn't music at all. There are a couple of classical guitarists out there writing nice stuff. It's very brave of them. But maybe the market for this kid-on 'we have a repertoire! and it all goes pee-paw' classical guitar is stuff is done.
It sounds like government-aided music to me. In the UK (and other countries where 'artists' are helped by the public purse) a lot of high-brow, arty-farties were handed a living from those committees that so love those emperor clothes. I have no idea how Leo got anyone to listen. But there you are. Right there. Explaining it.
You're wasting your time here, get yourself down to the conservatoire. With that degree you'll be a cert for a job. (A masters? Not even a ****ey bachelor's. Impressive. Yo mama must be proud and I am humbled.)
In the meantime. Do you know what I need right now? And I promise to clean up the room afterwards if my Brouwer proves too unwieldy.
Maximum bang for the buck, so to speak. (said you, without even a red face)
Go play Brouwer all night long in front of any real audience and see if someone doesn't offer you a smack in lieu of stopping the racket. It's not music, it's an insult to the intellgence.
Get a grip on yourself, for god's sake man, before it's too late....
(And try to bear in kind that I was talking about music... output... I was not talking about senior B for whom I could only wish good things. Try harder to examine the text you read, before insulting people.)
Can you please send a copy of your degree to the address below for verification:
www.brouwerfanzine.gotporkchops.com
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