Carulli, Ferdinando - op.241/05 Andantino in G

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tateharmann
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Carulli, Ferdinando - op.241/05 Andantino in G

Post by tateharmann » Tue Nov 14, 2017 3:18 pm

Yes, I'm posting this one again. Haha - I don't think I've posted it yet with gut and silk strings played without nails...so, here it is. This is a great little warm-up piece that I'm playing quite slowly here.
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"One should always eat muffins quite calmly. It is the only way to eat them."

Kenbobpdx
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Re: Carulli, Ferdinando - op.241/05 Andantino in G

Post by Kenbobpdx » Tue Nov 14, 2017 3:58 pm

Sweet.
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tateharmann
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Re: Carulli, Ferdinando - op.241/05 Andantino in G

Post by tateharmann » Tue Nov 14, 2017 10:31 pm

:merci:
"One should always eat muffins quite calmly. It is the only way to eat them."

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Elijah
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Re: Carulli, Ferdinando - op.241/05 Andantino in G

Post by Elijah » Sat Dec 02, 2017 10:13 am

Charming.

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tateharmann
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Re: Carulli, Ferdinando - op.241/05 Andantino in G

Post by tateharmann » Sun Dec 03, 2017 5:17 am

Thank you!
"One should always eat muffins quite calmly. It is the only way to eat them."

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RHSOldboy
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Re: Carulli, Ferdinando - op.241/05 Andantino in G

Post by RHSOldboy » Sun Dec 03, 2017 6:38 am

A beautiful piece! Played with expression. Thank you.

wchymeus
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Re: Carulli, Ferdinando - op.241/05 Andantino in G

Post by wchymeus » Sun Dec 03, 2017 7:21 am

Very nice recording/playing! Thank you
Field 2014, Oberg 2013, Vincente Sachis Badia 1977

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tateharmann
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Re: Carulli, Ferdinando - op.241/05 Andantino in G

Post by tateharmann » Mon Dec 04, 2017 4:16 am

Thanks folks!
"One should always eat muffins quite calmly. It is the only way to eat them."

Umberto Nostro
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Re: Carulli, Ferdinando - op.241/05 Andantino in G

Post by Umberto Nostro » Tue Dec 05, 2017 4:23 pm

Very sweet, very nice. Thanks for sharing.

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tateharmann
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Re: Carulli, Ferdinando - op.241/05 Andantino in G

Post by tateharmann » Sat Dec 09, 2017 10:07 pm

Thanks Umberto!
"One should always eat muffins quite calmly. It is the only way to eat them."

Lucas Almeida
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Re: Carulli, Ferdinando - op.241/05 Andantino in G

Post by Lucas Almeida » Thu Dec 21, 2017 11:24 pm

Wonderful interpretation! Thank you for sharing

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tateharmann
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Re: Carulli, Ferdinando - op.241/05 Andantino in G

Post by tateharmann » Sat Dec 23, 2017 4:01 am

Thank you kindly, Lucas ;)
"One should always eat muffins quite calmly. It is the only way to eat them."

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FirminArchambault
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Re: Carulli, Ferdinando - op.241/05 Andantino in G

Post by FirminArchambault » Sat Feb 03, 2018 6:07 am

Thank you for sharing this beautiful interpretation.
I often think that many pieces from the Viennese classical period are interpreted at a too high tempo, which diminishes greatly the expressiveness of the music. One of the reason behind this, maybe that the guitar is not well fit for the big size concert halls, so many musicians tend to go to too far on the virtuosity side of the music to compensate for the difficulty to achieve delicate expressiveness in a large hall. Listening to guitar pieces at high tempo and limited expressiveness on CD and concert halls has conditioned many guitarists to consider pieces from composers like Carulli to sound dull, and miss one of the most charming point of the guitar which is expressiveness.
That is a nice homage you give to Carulli by showing the expressiveness of him music when played with the appropriate technique. Thank you again
(I have a question for you, have you tried to push further the articulation in the interpretation of Viennese classical period? I am currently trying to work on this direction and wanted to hear your opinion on that.)

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tateharmann
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Re: Carulli, Ferdinando - op.241/05 Andantino in G

Post by tateharmann » Sun Feb 04, 2018 3:34 am

Hi Firmin! Thanks for your comments and interesting observations :)

I don't actually have a lot of insight into interpretation of the Viennese classical period. I've currently been studying the early 20th century technique of Emilio Pujol and trying to incorporate that into my playing. I'm also playing here on a relatively larger fan braced instrument (after Torres) but with gut strings.

I would love to get my hands on an earlier 19th century instrument and dive into some of this beautiful music playing with historically informed technique. There's one for sale at the moment on my local Craigslist that I'm going to go check out :)

Can you share any insights on how to articulate this piece, for example, appropriately? I'd love to hear!
"One should always eat muffins quite calmly. It is the only way to eat them."

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FirminArchambault
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Re: Carulli, Ferdinando - op.241/05 Andantino in G

Post by FirminArchambault » Mon Feb 05, 2018 11:23 am

Let me share with you this citation from Robert Riggs “Every good composition has a certain (predominant) character; that is, in the composition, the composer has expressed a certain degree of joy or sorrow, jest, seriousness, anger or composure. Heavy and light execution also contribute a great deal to the expression to the prevailing character … chiefly a matter of the proper application of detached sustained, slurred and tied notes”
From what I understand, the composers from the Viennese classical period expected their piece to be highlighted by articulation, and dynamics. But since it was the custom at the time, those elements would not be written in the score. So, a performer must imagine how to apply articulation. For this he must practice articulation for example by playing scales and arpeggio by applying different gradation of articulation from very staccato, to just slight staccato and legato. After the player master articulation in the scales and arpeggios that he can try to apply gradations of articulation in his interpretation of the pieces and improve greatly their expressiveness.

I am trying to practice articulation to improve the interpretation of pieces of that period. I currently am in the learning phase. I find it quite hard to bring gradation in articulation but rewarding. I am surprised to see how it can empower interpretation. I really enjoyed the way you respect the phasing of Carulli’s piece. I think you applied careful attention to details in the execution of this piece, which makes it very nice to listen to. I would be very interested to see how you would try to apply different gradations of articulation in that piece to make it even more expressive. So, I have no real suggestion of articulation, but trying to tempt you to try as with your attention to details you may have very interesting results that I would be very pleased to listen to.

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