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发表于 2004-5-30 23:03:00
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呵呵，另一个帖子的评论：Re: Who is the greatest?
Posted: 19 May 2004 07:54 PMIndeed, I agree that Göran Söllscher is an excellent player.
On Fisk, that guy is just plain silly. I am convinced he has the technical ability to play almost any conglomeration of notes conceived at a musical instrument for human performance...and make it sound brassy, abrasive, and sometimes downright irritating. His sense of phrase is jagged, angular, jarring; his dynamic sense is one-sided: loud. Still, for the Paganini capricci on guitar, I would recommend noone but Mr. Fisk. Sometimes his over-the-top wankerin' is exactly what a piece calls for.
One more vote for Mr. Dyens! On writing for the guitar, one of my favorite contemporary guitarists/composers must be Roland Dyens. His composition is undeniably modern, but still accessible to most audiences...and the tough stuff is of a difficulty most players can only imagine. Roland's skill with improvisation in a modern classical style is almost entirely unique. His skill with expression is powerful. Roland himself is responsible for a full 50% of the most exciting guitar performances I've ever seen.
Now, on to the status quo. On John Williams, I am a great fan, but not for his recordings (which can come off as a bit dry, almost mechanical). Where Mr. Williams is remarkable is on stage. He is one of the very few guitarists who can concertize without error. The thrill of the music is much more evident when one can see him executing it.
On tone, I am still a great fan of Julian Bream. His use of color is creative, masterful, thoughtful, and mesmerizing. He is a little prone to error in performance, but so is almost every guitarist who isn't John Williams...and his expressive exploitation of tone color forces the hearer to forgive the occasional error.
For the overall guitarist package, I think David Russell may be the optimized combination of everything a guitarist can be...not the best at any one performance facet, but every facet optimized to an enriched whole...if you follow my incoherent babble.
...And to depart once more from the status quo. On Segovia, OK, most professional guitarists are better than me, but my opinion is valid and somewhat informed. Frankly, by the time he made the bulk of his recordings, he was comfortably "past it." I have a bitter-sweet relationship with Segovia's legacy. Segovia is often credited with rescuing the guitar from obscurity. What he really did was to remake the guitar in his own image--a decidedly post-romantic Spanish image--in a mighty BIG way.
Segovia would have us believe that the guitar had ceased to be as a "serious" instrument after the great age of Sor and Giuliani until Tarrega took it up and Segovia himself brought it to the world. Nonsense! Mertz, Regondi, Zani di Ferranti, Foden, Holland, Bickford, etc., etc.: all celebrated virtuosi in their day, all now neglected or trivialized as parlor entertainment for amateur girls. Very few amateurs can do justice to any of the virtuosic repertoire by that lot!
Segovia's influence extended far beyond repertoire. Before Segovia, Italy and the Germanic lands continued making classical guitars in a style evolved from the likes of Staufer or the Vinaccia family. Before Segovia standardized Hauser's Spanish model, even Herman Hauser made artful guitars with a rich tonal pallet (fuller and less bright than the typical Spanish instrument) that looked nothing like a modern classical guitar. In America, a very distinctive style of classical guitar evolved that, after Segovia, is typically trivialized as "parlor guitar" and nowadays almost always restrung with steel (often after horribly invasive modification of the bracing) whether the original piece was built for steel or not. After Segovia, the only guitars we recognize as classical are those with profiles derived from the mid-19th-c. Torres design.
Other plucked strings were also squashed in Segovia's campaign. There were thriving camps of classical mandolin in Italy, N. America, England, Germany, France, and elsewhere. Even (brace yourselves) banjo was a respected classical instrument in N. America, England, and Italy. Vadah Olcott Bickford's husband, Zarh Myron Bickford, was a world-renowned classical mandolinist with many compositions and a four-volume method to his credit. If anything, Zarh (and the the mandolin in general) were more popular than Vadah (and the guitar) in their own day. Zarh and Vadah struggled to maintain interest in the plucked string in the context of art music as interest waned in favor of dance bands. Their efforts have been almost entirely lost in Segovia's shadow.
Guitarists have been dwelling in Segovia's self-overinflated shadow for too long. His role in the guitar's history is undeniably important; he did bring the instrument into the concert hall and to a massive audience that would otherwise not have heard it in the context of art music. In doing so, and with his subsequent elevation to the status of guitar messiah, however, he is as much responsible for depriving a whole generation of what the guitar has been and can be as he is responsible for bringing his taste in guitar to the world.
I am a great fan of early music. I like Richard Savino for his marvelous work on 19th-c. and 5-course guitar. I very much like what David Starobin does with Giuliani's music...and some of what he's done with Regondi's. I love lutenist Paul O'Dette best when he takes up his Italian-style, 5-course guitar and plays the 1700s Spanish music of de Murcia on it. Jacob Lindberg's recording of Corbetta is amongst my other baroque favorites; his mastery of complex baroque-style rasgueado is exactly what is needed to make music in alfabeto notation come alive.
Please forgive the beastly length of this post. Segovia worship often brings a rant out of me. |
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发表于 2004-5-30 22:54:00
