Well put John. I thought that Tariq Harb discussed the polyphony pretty well, but maybe he just emphasized the bass line in the opening measures more fully than the rest of the voiceings later in the piece. I did find his performance compelling, but maybe he emphasized the chordal (choral) aspect over the polyphony more than you'd like. I'll listen again. Certainly it's the interplay of both that make this piece remarkable.JohnB wrote: ↑Sun Feb 04, 2018 11:28 pmI've also been looking at Sor/Segovia No 1 and find it considerably more difficult than it appears (though that probably says something about my abilities). I'm not totally convinced by the performance on Tonebase, beautiful though it is. The problem as I see it (and I might well be wrong) is that the piece is mainly polyphonic in nature, not chordal - though of course the strands of the polyphony do create chords.
For example, in measures 5 to 8 you have a phrases of descending thirds in the treble alternating with the same pattern in the base, and to my mind, both need to be clear (I find articulating that is a bit like patting your head and rubbing your stomachs at the same time). Also, say, the descending melodic line in the base that starts in measure 10 does just stop at the start of measure 11 with the attention transferring to the treble but the base line carries on while the same pattern is repeated, overlapping (in canon?) an octave higher - both of the melodic lines need to be heard simultaneously for the effect to make sense. Etc, etc.
For me it is quite a difficult piece to play in the way that I would like to play it, bringing out the polyphonic lines.