estebanana -> RE: What happens when a flamenco guitarist plays classical stuff?! (Oct. 7 2015 9:42:16)
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I had not seen the Presti and Muraji videos. Presti is quite fast indeed. What you don't seem to be noticing, though, is that both of these gals have enormous problems maintaining a consistent tempo, which is not surprising given the speed at which they are playing. They are not particularly good as musicians, although they may be stellar performers. Dynamics is lacking completely, so is emphasis. It's called rubato and tempo change. In the case of Ida Presti that recording is really old, her dynamic range does not sound out of order when compared to other flamenco and classical recordings of the same era. To hear her in person was probably quite another experience. Muraji is a fine player and she's got strength. Adam del Monte is a stellar guitarist an composer living in LA, he's world class. And then you go back to classical guitarist Ana Vedovic to make your point. Are you ready to eat your hat? Jason Mc Guire was in Australia a few years ago playing in a festival and Ana Vedovic was there as well. I asked him how she played, I've never seen her in person. He said she was really good and that she was in some special place of accomplishment. So a really high level flamenco guitarist gives kudos to a rally fine classical guitarist. The fight between who's better flamenco or classical is a non starter today because so many great players around today have worked in both areas and have mutual respect. In times past flamenco guitar players were given short credit for accomplishments and most of that talk came from aficionados. I have not heard any really fine, tough, muscular playing classical guitar players today disparage flamenco players or put them down. There are wimpy classical players, but there are just as many flamenco players with other problems, sure, but at the top level I don't hear guitar players fighting over which genre produces the best interpretation. Some music calls for the classical touch and some calls for a flamenco touch, they are two sides of an instrument and two ways of playing. I've heard a lot of mutual respect exchanged between the good classical and good flamenco players. And a lot of good classical players who like flamenco guitars. Most of the best guitar players could have gone either direction to classical or flamenco, to me they made decisions based on personal temperament and which music suits them. And on the opposite side of the coin, I've heard a flamenco guitarist or two completely murder and kill a classical piece by trying to over power it. I think it's always going to be a two way street.
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