He was 83 years old by then. He was probably exhausted.Altophile wrote: ↑Sun Jun 18, 2017 9:34 pmHe once spoke about how horribly Segovia played on the third night of a three night concert. Segovia apparently played so poorly that for an encore he came out and basically played all the great favorites from the standard repertoire, and did so wonderfully, almost as an apology for his poor performance.
Did Segovia play poorly because of his great expressiveness and musicality, or was he simply having a bad night?
Who cares if he makes a few mistakes?! He's bl00dy great, a breath of fresh air both in the way he communicates and in his guitar soundA recent GFA winner Florian Larousse makes quite a few mistakes, (watch his videos), but the Youtube comments actually support this as a return to "humanity" in playing.
I've often wondered that, having noticed that the players with the more reliable technique seem - to my ears - to be the least musical.
Although Bream's career was very much a success, I feel a bit sorry for him in that he doesn't seem to have had access to good tuition early on and ended up a with a technique that made life much more difficult than it had to be. Stanley Yates has pointed out that you can get good at using a technique that is less than optimal - I think that's what happened to Bream and I can't help but wonder if it is related to the fact that he had to give up at an age when others were still playing.Adrian Allan wrote: ↑Mon Jun 19, 2017 8:08 amIs there not a case to be made for the fact that, the minute you move your right hand to spontaneously play more ponticello or tasto, some of the technical stability is put at risk?
Could this party explain Bream's risk taking and musicality?
The most robotic hardly move their right hands
The more dynamic levels and tonal palette you use, the more risks you take... If you play with mp mf dynamics and without colours, you "delete" many elements of the equation...
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