Transcription

[euge_o_rama]

I'm going to stick my neck out with a little online rant. I don't want to give the wrong impression. I love transcription: love to hear it live or recorded, occasionally play it... Good transcription sounds pleasant and is rightfully marketable to a general audience that probably isn't familiar with obscure guitar or mandolin music. The best

Comments

[calatrava]

May I add some comments. Regondi and Mertz - and also Coste - have been recently rediscovered by guitarists all over the world, but they were never forgotten by a mainstream of Italian guitarists in the first half of the 20th century. People like Romolo Ferrari and Benvenuto Terzi - to name just two of the Italian members of Italian guitar school, the former a scholar and the latter a concert player - were very well aware of the original repertoire of the instrument af any epoque, they owned the epoque editions of most of the masters of the 19th century and they did not genuflect to Llobet and Segovia, though entertaining with them a friendship.

As for Baroque guitar music, I perfectly remember to have been given by Terzi the Coste transcriptions from de Visée, with the explanation of their relevance and limits.

ag

[euge_o_rama]

These are good points. Coste seems to me to have been the very narrow window that allowed de Visee to not have faded into total oblivion amongst guitarists of previous generations.

[euge_o_rama]

I should also add reference to Vadah Olcott and Zarh Myron Bickford in the US who were active concert artists and had a fine collection of post-Sor guitar music. Their careers were largely forgotten to the mainstream with Segovia's popularity.

[filialucis]

I'm in agreement with much of what you say... with one proviso. Anyone or anything that tries to get between me and the Bach violin/cello sonatas is roadkill. :)

[euge_o_rama]

Enjoy!

[mathiasroesel]

Andres Segovia & Friends, chamber music for the guitar, lute, mandoline 10 CDs: EUR 9.99

Just a thought

[euge_o_rama]

Well, that's a whole heap of CD for not much money.

[d2a0v0i5d]

The concert gutarists of the 1950s-70s had little hesitation to play renaissance music on the guitar: Dowland, Cutting, Narvaez, Milan, Milano, etc. were all frequently heard in recital and on LP. But then the High Priests of Authenticity came around, and loudly lambasted anyone playing this music on anything but a vihuela or lute.

The baroque guitar has little true similarity to the modern guitar, due to the re-entrant tunings used. I think it was Bream who called the baroque guitar "a high-powered ukelele", and, given the global dispersal of the guitar via European sailors in the 1700s, there's more than a shred of truth to this otherwise ironic statement.

FWIW

[euge_o_rama]

The concert gutarists of the 1950s-70s had little hesitation to play renaissance music on the guitar: Dowland, Cutting, Narvaez, Milan, Milano, etc. were all frequently heard in recital and on LP. But then the High Priests of Authenticity came around, and loudly lambasted anyone playing this music on anything but a vihuela or lute.
Of course, but much of this was not alien to Segovia's programs either: Milan, e.g. I don't mind the "high priests" of authenticity because I don't heed them. This is another hang up pianists don't seem to have to endure. I am just as happy to play Milan on a speculative vihuela reproduction as I am on a modern guitar. Whatever you like is reason enough to do it.

The baroque guitar has little true similarity to the modern guitar, due to the re-entrant tunings used. I think it was Bream who called the baroque guitar "a high-powered ukelele", and, given the global dispersal of the guitar via European sailors in the 1700s, there's more than a shred of truth to this otherwise ironic statement. Of course;