Sad to hear we lost Christopher Rouse. There are too few Guitar Concerti. Good for him to compose for that instrument whose best players have no lifelong orchestral seat. He was a friend at Oberlin, and one whose work I have enjoyed discovering including this piece which I am listening to now. Condolences to his family. His music is extraordinary.
A tremendously enjoyable concerto, worthy to stand beside any of the great guitar concertos. Many thanks for the upload. Rouse is a wonderful composer.
***** Great! Glad you liked it. I plan to upload his violin concerto in the near future, which has splendid references to Wagner. It sounds like an opera for violin.
+Jack Housman I imagine they use an adequate microphone. But honestly, I've never attended a concert for a guitar concerto. It looks like John Williams has a mic for his performance of Concierto de Aranjuez: ua-cam.com/video/r2Xdlgii-Rc/v-deo.html
+Jack Housman I've heard concertos for the guitar where the guitar was amplified through a microphone and where it was played "naturally". Having said that though, I think that even orchestras are subtly amplified as a norm now. (I could be wrong). In both instances where the guitar was amplified and played naturally, I could hear the guitar perfectly clearly. This has been one of the "issues" which guitarists have been debating for a long time. We must remember that in the thirties and forties, amplification was not really as good as it is today and as such, performers probably did not use it at all. Segovia was known to always shun it. The guitar performances I've been to were mostly not amplified, as I think amplification has become acceptable only in the last three decades or so, and usually only in the largest halls.
Concierto de Aranjuez is perfectly fine in a traditional shoe-box concert hall without amp. When the orchestra is playing fff and the guitarist is playing, he/she's is strumming frantically anyway. Rodrigo knows when to shut the guitar up lol. I don't think the soloist will be audible in Berlin's concert hall. I believe amplification is the way to go. Everyone from composers to audiences stand to benefit.
There's no problem! Composers know to create arrangements which let all the instruments be properly heard. The bigger challenge for a live performance is often in getting the venue to schedule anything that is not Rodrigo's Concierto de Aranjuez...
The instrument in my mind is to fragile for Rouse`s musical language. Compared to flute concerto or the violin concerto I don`t hear any of what I consider his best ideas.
Sad to hear we lost Christopher Rouse. There are too few Guitar Concerti. Good for him to compose for that instrument whose best players have no lifelong orchestral seat. He was a friend at Oberlin, and one whose work I have enjoyed discovering including this piece which I am listening to now. Condolences to his family. His music is extraordinary.
A tremendously enjoyable concerto, worthy to stand beside any of the great guitar concertos. Many thanks for the upload. Rouse is a wonderful composer.
***** Great! Glad you liked it. I plan to upload his violin concerto in the near future, which has splendid references to Wagner. It sounds like an opera for violin.
Phantastico!
Sharon isbin
Lo máximo en guitarra
Saludos desde Monterrey nuevo León México
... sehr schönes eingängiges modernes Gitarrenkonzert; hervorragend interpretiert
The beautiful Largo is splendid
CUANDO VIENES A MONTERREY ??
I have never heard a concerto for guitar and orchestra live. Is there any problem hearing the soloist? Can anyone tell me?
+Jack Housman I imagine they use an adequate microphone. But honestly, I've never attended a concert for a guitar concerto. It looks like John Williams has a mic for his performance of Concierto de Aranjuez: ua-cam.com/video/r2Xdlgii-Rc/v-deo.html
+Jack Housman
I've heard concertos for the guitar where the guitar was amplified through a microphone and where it was played "naturally". Having said that though, I think that even orchestras are subtly amplified as a norm now. (I could be wrong). In both instances where the guitar was amplified and played naturally, I could hear the guitar perfectly clearly. This has been one of the "issues" which guitarists have been debating for a long time. We must remember that in the thirties and forties, amplification was not really as good as it is today and as such, performers probably did not use it at all. Segovia was known to always shun it. The guitar performances I've been to were mostly not amplified, as I think amplification has become acceptable only in the last three decades or so, and usually only in the largest halls.
Concierto de Aranjuez is perfectly fine in a traditional shoe-box concert hall without amp. When the orchestra is playing fff and the guitarist is playing, he/she's is strumming frantically anyway. Rodrigo knows when to shut the guitar up lol.
I don't think the soloist will be audible in Berlin's concert hall.
I believe amplification is the way to go. Everyone from composers to audiences stand to benefit.
There's no problem! Composers know to create arrangements which let all the instruments be properly heard. The bigger challenge for a live performance is often in getting the venue to schedule anything that is not Rodrigo's Concierto de Aranjuez...
Sharon
I don`t think this is Rouse at his best.
I rather like it. What do you think is lacking in this piece?
The instrument in my mind is to fragile for Rouse`s musical language. Compared to flute concerto or the violin concerto I don`t hear any of what I consider his best ideas.
Tostón