Results for: adagio birth
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Ida Presti Right Hand Technique I Ida Presti plays "Romance" from Niccolo Paganini. If you can go behind the frying pan (More) Ida Presti plays "Romance" from Niccolo Paganini. If you can go behind the frying pan sound and concentrate on the music you will hear superlative guitar playing. Nothing is missing here. A reference in: tone quality, intensity, phrasing, rythmic vitality and dynamism, long legato lines and sustain, great vibrato sound, colours and character. Recorded in France circa 1938 Ida Presti was around fourteen yeards old... Want to know more about Ida Presti? Please read this: Written by Maestro Angelo Gilardino on the classical guitar newsgroup on Saturday, May 22, 2004 9:18 PM She was the greatest firstly and simply in terms of her skills with the instrument: she could do with fingers things that no other guitarist could do. Her hands were phisically "different" (by nature and for having been manipulated by her father since when she was a baby). She produced the loudest, roundest, fullest, tone ever heard: only Lagoya - since when they met and formed the duo - could match her, and only in certain situations. The tones she produced in certain recordings of the duo ("Goyescas" by Granados, just to give an instance, but one could add many other examples) is the best tone I ever heard from a guitarist - and I listened to all of them who gave concerts after my birth - and she could produce a variety of tones, with a correspondent amplitude of dynamic range, that nobody else has matched so far. She could play a sort of "legato" unique to her playing, and to nobody else's playing. Her vibrato - still documented in the duo recordings, take for example the "Adagio" by Albinoni-Giazotto - is still above anybody else's possibilities. She was - simply - unmistakable. I never heard a wrong note from her. Jack Duarte, who was a strict friend of hers, can witness that in the hundred times he listened to her practicing, he never heard one single mistake from her. Her virtuosity - a stunning one - has been matched by several players nowadays, but at which price, in terms of sound, expression, etc.? Consider that, after her severe training during her childhood, she did not practice very much, her life being spent mainly in travels and concerts..,But all of this prodigy was serving the most important purpose: she was a marvelous musician, with a direct, immediate, unabriged vision of the music. Her drawing rhythms, melodies, voices in counterpoint, chords, was simply perfect. She played so well, that you couldn't realize she played well, because you received the music in such an accomplished way that you were allowed to forget she was playing an instrument, and that she was skilled. Her skills disappeared with her doing the music. Her fellows, in the heavens of 20th century interpreters, are to be sought outside guitarists: I would say Dinu Lipatti, and only a few other ones. (Less)
Ida Presti Right Hand Technique II Ida Presti plays "Guajira" by Emilio Pujol (1882-1980).
If you concentrate on the music (More) Ida Presti plays "Guajira" by Emilio Pujol (1882-1980).
If you concentrate on the music you will hear superlative guitar playing. Nothing is missing here. A reference in: tone quality, intensity, phrasing, rythmic vitality and dynamism,sustain, great vibrato sound, colours and character. Plus a unique quality in the pizzicato where the sound although damped is still resonant with harmonics.
Recorded in France in the 1950's.
Want to know more about Ida Presti? Please read this:
Written by Maestro Angelo Gilardino on the classical guitar newsgroup on Saturday, May 22, 2004 9:18 PM
She was the greatest firstly and simply in terms of her skills with the
instrument: she could do with fingers things that no other guitarist could
do. Her hands were phisically "different" (by nature and for having been
manipulated by her father since when she was a baby). She produced the
loudest, roundest, fullest, tone ever heard: only Lagoya - since when they
met and formed the duo - could match her, and only in certain situations.
The tones she produced in certain recordings of the duo ("Goyescas" by
Granados, just to give an instance, but one could add many other examples)
is the best tone I ever heard from a guitarist - and I listened to all of
them who gave concerts after my birth - and she could produce a variety of
tones, with a correspondent amplitude of dynamic range, that nobody else has
matched so far. She could play a sort of "legato" unique to her playing,
and to nobody else's playing. Her vibrato - still documented in the duo
recordings, take for example the "Adagio" by Albinoni-Giazotto - is still
above anybody else's possibilities. She was - simply - unmistakable. I never
heard a wrong note from her. Jack Duarte, who was a strict friend of hers,
can witness that in the hundred times he listened to her practicing, he
never heard one single mistake from her. Her virtuosity - a stunning one -
has been matched by several players nowadays, but at which price, in terms
of sound, expression, etc.? Consider that, after her severe training during
her childhood, she did not practice very much, her life being spent mainly
in travels and concerts..,But all of this prodigy was serving the most
important purpose: she was a marvelous musician, with a direct, immediate,
unabriged vision of the music. Her drawing rhythms, melodies, voices in
counterpoint, chords, was simply perfect. She played so well, that you
couldn't realize she played well, because you received the music in such an
accomplished way that you were allowed to forget she was playing an
instrument, and that she was skilled. Her skills disappeared with her doing
the music. Her fellows, in the heavens of 20th century interpreters, are to
be sought outside guitarists: I would say Dinu Lipatti, and only a few other
ones. (Less)
Birth Adagio Doomstermaniac 
2009-06-30 - extension: rar - size: 50 MB
Birth Adagio Doomstermaniac
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