Classical Music

**golden** · 04-05-2011, 07:12 AM

Originally Posted by k0rpsey

His sound compared to a few other theorbo players' videos I just watched reminded me of this:

YouTube - JULIAN BREAM MASTERCLASS - BRITTEN "NOCTURNAL"

I'm not sure if he considers himself influenced by Bream, but he does sound like it, doesn't he? I always hated the harshness of Segovia's playing, sorry--I know we're all supposed to bow down and stuff. But Bream is tops. (Love Britten's compositions, too.)

**Korpsy Knievel** · 04-05-2011, 08:18 AM

Originally Posted by Golden

I'm not sure if he considers himself influenced by Bream, but he does sound like it, doesn't he? I always hated the harshness of Segovia's playing, sorry--I know we're all supposed to bow down and stuff. But Bream is tops. (Love Britten's compositions, too.)

What I meant was that many of the other theorbo players I watched had a bright and tinny tone like Bream's student who used too much nail, creating inharmonics and other undesirable overtones that alter timbre and rob the fundamental tone of its natural resonance, clarity, and presence.

Parental albums around the house gave me early exposure to a lot of the staid Segovia, plus the more fiery Carlos Montoya to a lesser extent, so I've long had a love for classical and flamenco guitar. Bream is a discovery of the last few years and he's become my favorite not only for the challenging and internally varied nature of his selections but also for the richness of his sound.

**golden** · 04-05-2011, 11:02 AM

Originally Posted by k0rpsey

What I meant was that many of the other theorbo players I watched had a bright and tinny tone like Bream's student who used too much nail, creating inharmonics and other undesirable overtones that alter timbre and rob the fundamental tone of its natural resonance, clarity, and presence.

Parental albums around the house gave me early exposure to a lot of the staid Segovia, plus the more fiery Carlos Montoya to a lesser extent, so I've long had a love for classical and flamenco guitar. Bream is a discovery of the last few years and he's become my favorite not only for the challenging and internally varied nature of his selections but also for the richness of his sound.

Well, I do think we're talking about roughly the same thing. I like Bream because of his more subtle right-hand (plucking) technique. Just a personal preference.

Lute, theorbo, guitar, etc.: apparently there was a preference among many Renaissance players for no fingernails in solo performance (more beautiful tone production), but fingernails in ensemble settings (more rhythmic impulse and just being balanced with other instruments volume-wise).

**golden** · 04-06-2011, 10:36 AM

It's really the Op. 118, no. 2 I was looking for, but it follows Op. 1 in this Kissin performance. His interpretation is good. It's amazing how many players impart zero feeling to such a delicate, soulful piece of music:

**717495** · 04-06-2011, 12:13 PM

Oh you like Schumann and Brahms too? That's nice, I love these two. I looked into them a little bit personality-wise, and tentatively think Schumann was ESTj and Brahms was ESFj, not that it really matters much to me, but I thought it was interesting.

Actually what's really interesting is my two favorite composers are probably the same type as myself, and they happen to be great melodists.

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**Suz** · 02-16-2015, 02:37 PM

Originally Posted by silverchris9

The latter. Classical music is no more dead than Shakespeare or Charles Dickens or Walt Whitman. People ignore the classics because of the big counter-cultural thing where absolutely anything old was classified as "bad" and associated with uncool parents. Hopefully people will get over that soon, because classical music is awesome.

Beethoven's music is absolutely drenched in Fe. It IS Fe.

I feel this as well.

Thumbsdown to ppl typing him Fe-POLR!