Sorry to keep jumping in on grade-related questions. But I don't think anybody mentioned grades 6-7 and it certainly isn't either (edit; except AMEB). It used, in the old days, to be on Grade 4 ABRSM but is currently deemed inappropriate for a place on a grade at the moment. That, as I understand it, would be because of the barré requirements.Adam wrote: Related to grading, if Lagrima is grade 6 or 7, then the grades are probably easier than I assumed they are. I've only been playing about 2 months after almost 4 years off, and I can already play Lagrima pretty cleanly (I did use tabs to refresh my memory on fingerings). Just started looking at ABRSM, was thinking about which one I should start with. I was thinking about 3 just to get my feet wet, but I may just jump up to 5. Maybe I'll create a separate thread about that.
Ha! Yes, you're right. Don't like his version either, tone-wise (sacrilege!), but I guess that's just me. Maybe I'm just mellowing in age but the tone just doesn't suit the music to my ears.petermc61 wrote:Hi Mark, heard Bream play this? It makes her choice of tone colour sound positively sumptuous!
Beats the heck out of looking at Segovia or Bream.......igycrctl wrote:Can we please stop talking about her ability to play and start talking about her physical appearance?
I don't see why discussing a player's interpretation is pointless. The opposite I'd say is true. Much to learn from others' playing - whether it's played well or not, wouldn't you say?Rasqeo wrote:This has to be in the running for most pointless thread ever...
This is really harsh I think. It's very difficult for musicians to make a decent living and networking, marketing, promoting are just as important as sitting at home and practicing. I honestly think many famous performers become famous only partially because of how excellently they play. Especially nowadays social media is dominating, I think her approach of marketing - taking advantage of her good appearance, friendly gesture and easy going personality is very worth learning for students or arising professionals to make a living and/or stand out in today's environment. I also like how the photography, lighting, makeup, etc in her videos are on professional level. Of course the premise is that playing skills cannot be sub par.David_Norton wrote:I really dislike this one. But this is an unfair statement: had I not known who was playing, I may have enjoyed it. But I don't like any of her videos, in particular those with her coquettish head-bobbing and coyly-cutsy shy smiling. Ugh.
I agree with this evaluation. She is a fine player but it is over-interpreted, if there is such a thing.Kenbobpdx wrote:Ok, I am going to possibly rile some folks up. I don't usually get involved in polemics about professional players but....I found this truly awful. Especially for someone as talented as she is. Unlike crabby, old David its not about her demeanor on film. The playing is off on many levels.
First, the split notes on the second A section. I find them distracting from the music and they create an unpleasant dissonance and whack out the rhythm .
Second, the obviousness of changing character the second time around on each section. Sweet tone on the first round, harsh tone on the second round. Sweet, harsh, sweet, harsh, sweetish. Just doesn't come together as a whole to me. Bream used to do this but he usually made it work. This doesn't work.
Third, this is a Romantic era piece. We all milk the hell out of the melody but it needs tonal balance. This may be a characteristic of the guitar but those high notes sometimes jump out like screaming children. This is where pros usually outshine the rest of us - they control this to such a fine degree that we can only hope. When I was a student many years ago my teacher would require me to over accent the melody and then back it off to a more balanced state for musicality.
There. I just joined the crabby old men's club. Now, where is Ramon?
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