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Allemande, BWV 1004 Submitted by El Polifemo de Tacos on Tue, 2007-08-28 20:51.
First,congratulations on the "Gift and Life" dvd. It is a nicebalance ofstories and music, serious content and fun, polished but alsoinformal.Professional and well done.
I am working on an arrangement of the Allemande to Bach's secondviolinpartita, which you have of course recorded. Inspired byFrankBungarten's beautiful recording, I am working from the violinscorewithout adding any basses or harmony. This is not from some senseof"purity" or elitism -- just curiosity to hear the exactBachcomposition on my instrument, and as a sort of etude to seehowcomplete I can make the single line. It's a philosophical inquiry,ifyou will, into "less is more." And it's a bit easier with justtheviolin notes! My questions:
1) Can you talk a bit about your approach to arranging Bach'ssolobowed-instrument works for guitar? I assume that most players ofyourstature don't feel there's a "right way" and a "wrong way," sowhatinforms your approach? How do you decide about adding notes? Is itjust"do whatever sounds good," or is it more rigorous? How lean do youfeelthose works can be, when presented on guitar, and still succeed?Doesyour approach to these pieces change over the years or do you tendtofind a way you like and lock it in forever?
2) Specific question regarding the triplets in the piece. I amtrying topay some attention to how I present the triplets -- with orwithoutslurs, or staying on the same string, so they sound alike. Onyourrecording it sounds like you mix it up: sometimes two or morenotes ofthe triplet are slurred, sometimes they're all plucked. Do youhave anystrategic advice here?
Any other random comments welcome. For example I am finding the keyofDm to be less simple for stretches and fingerings than I thoughtitwould be. (Did you capo?) Thank you. My wife and I will be intheaudience in San Francisco in March 2008.
Mike
Allemande, BWV 1004
Submitted by Manuel Barrueco on Wed, 2007-08-29 13:02.
Oh my God!!!!!! These are difficult questions!!!!!
If the goal is to try to make Bach sound like Bach, then of coursethereis a right way and a wrong way. If not, just like you ask, whatwouldinform our approach? Understanding the style is essential inorder tomake the right decisions as to what notes to add to anarrangement.Sometimes, it is pretty obvious what’s going onharmonically butsometimes, at least for me, it requires that I stopand analyze it.Ultimately, this is not math but art, and we make ourbest decisionsbased on what sounds good to us and what information wehave.
My ways have changed over time and my criterion nowadays is: if Iheardthis arrangement, would I believe that it was written by Bachhimself?
The way I see it, to play the violin works in a single linewithoutbasses poses the question of why should a music lover listen toit onthe guitar and not on the violin?
Ultimately, it could be argued that not only it would bestylisticallyincorrect to do it without adding basses, as it was notdone that way inthe baroque period, but that it does not show theguitar in the bestlight possible. How many times haven’t we heard howthe polyphonicviolin works sound so much better on the guitar!...Theydo!!!
Don’t get me wrong, ultimately it does not matter to me ifsomebodytries to be stylistically correct or if they want to add bassanddrums. I’ll listen to it and if I like it, I like it and if I don’t,Idon’t. Having said that, if the goal is to make Bach sound likeBach,then it is not just merely a matter of taste.
I am not trying to discourage you from playing a single line, ifthat iswhat gives you pleasure playing this great music. I don’t knowif youare a professional or an amateur, but I as a professionalputting myselfin front of the public, do need to think of these things.
About your question of the triplets, I find it impractical, ifnotimpossible, to keep the slurring or fingerings consistent inonestring. f you are an amateur, and by using a capo it makes it easiertoplay the music and enjoy it more, by all means do it!
Good luck in my concert!
Manuel Barrueco
http://www.barrueco.com
Allemande, BWV 1004
Submitted by El Polifemo de Tacos on Wed, 2007-08-29 17:41.
Thankyou for the thoughtful reply. One request for clarification: Youwrite"...it could be argued that not only it would bestylisticallyincorrect to do it without adding basses, as it was notdone that wayin the baroque period..." Could you clarify what you meanby "as it wasnot done that way in the baroque period?" Do you mean thatstandardpractice in those times, if arranging something for aninstrument withmore polyphonic possibilities, was to add basses andharmony, as in theEmajor partita's fuller lute arrangement?
Thanks again, and to answer your question I am an amateur, a living-room guitarist who plays for his own amazement.
Mike
Allemande, BWV 1004
Submitted by Manuel Barrueco on Fri, 2007-08-31 12:25.
Yes, that is exactly what I meant.
Playing the guitar in one’s living room in a sate of amazement sounds pretty good to me!
Enjoy it!
Manuel Barrueco
http://www.barrueco.com
[ 本帖最后由 cyberninja 于 2007-9-3 00:46 编辑 ] |
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发表于 2007-9-3 00:44:40
