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Today I played again the Fantasias: I did not have yet the time to compare with the first version. I did some mistakes here....let`s continue working also with the "focus" by playing....
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Nora Torres-Nagel Nora that was very impressive. I tried to play this years ago but never got it under control. You are well on your way.
Incidentally there's an interesting piece by Georges Auric based on this piece, Hommage a Alonso Mudarra.
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Nora Torres-Nagel I always wanted to play this piece, I'll follow your progress on it, great start.
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Nora Torres-Nagel Fantastic, it sounds more and more confident!
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Jack Stewart OH really! I will look for hearing it ! Thanks for hearing me Jack
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Blaise Laflamme Thanks Blaise. The focus is one of my several issues by playing for others....I have another week to practice !
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I did a Mock performance today....but it was not the first time I play it in the day.
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Nora Torres-Nagel Very nice Nora. You play it very cleanly. I enjoyed listening to it.
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Nora Torres-Nagel Very good, Nora. That is very difficult for the left hand, especially when played without a capo (cejillo).
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Nora Torres-Nagel Beautiful Nora! This is one of my favorites. I often listen to a wonderful recording of it by Alirio Diaz (also one of my favorite guitarists). It is on his Vanguard Classics "Four Centuries of Spanish guitar", and is the first track. He says it's "transcr. Pujol". Is that the version you are working with? Listen to his amazing sound.
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Nora Torres-Nagel Beautiful, Nora! The music is flowing very nicely now - it's much smoother than the first recordings you shared with us. It's interesting to hear about Ludovico. I was aware of the reference to the harpist, but didn't realize he was long dead in Mudarra's time. I wonder what was known then of his music.
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Barney beautiful sound Barney! I couldn't hear it til now. Great! and so quick the first part!!!!! it is normal to go down with the tempo in the second part when it is played so quick at the beginning...David Russel did the same. Yepes was doing the opposite, played it slower in tempo from the beginning and continued with the same tempo in the second part...interesting.I think he is playing it also with the campanella effect...otherwise we could not hear the legato let's say of all the notes. The version of David Russell it is with the digitation of Pujol all the piece (I think), by sure the redobles of the 1. part.
You know Barney...my nails from i, m and p are broken...in m finger almost no nail.....I will talk to Martin....because my sound is awful ..but I would like to play anyway on saturday (I can not on the 4rd), I was practicing a lot.... and the challenge is there....what do you think? and you Eric @Eric ?
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Nora Torres-Nagel no worries Nora. We all have nail problems occasionally, so we understand completely. This is a casual thing for fun and experience performing. We are your friends and not critical like competition judges. We just want to listen and enjoy your playing with you . Just do it and you have our full support, and have fun!!
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Barney
exactly that I want to achieve....with this group together...enjoying and having fun by playing among guitarits...thanks !
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Thanks for hearing Derek, Barney and Eric and for your words. Yes Barney I am playing the transc. Pujol but with campanella scales, the digitation of the "redobles"-4 in total I think, all in the first page- is not from Pujol, my teacher gave me those digitations. I will listen to Alirio Diaz! Again thanks .
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Interesting Nora. When I listen to the Alirio Diaz recording, he is definitely playing several Campanella passages. Wondering if it his own modified version, but based on Pujol as the base.
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Barney What is certain is that the campanella passages are not in the original, which was notated in tablature, so there is no doubt about where the notes are intended to be played. Nor were these added by Pujol, at least not in the anthology he edited (published by Schott under the title "Hispanae Citharae Are Viva'). I do recall a version with campanella that an old teacher gave me, years ago now. (Indeed, I remember being told (incorrectly, as it turns out) that the campanella passages were precisely where Mudarra was imitating Ludovico's harp!) I think also (though I'm not certain) that Williams had recorded a similar version. In any event, the fantasia seems to work well enough with or without the campanella, so it is a matter of taste which one prefers.
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David Krupka So interesting, thank you! Might be interesting to look into the original manuscript!
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