THE LEONA SERIES Interview on "La Leona" with Wulfin Lieske, guitar
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- Опубліковано 27 вер 2024
- MIT DER MUSIK IM FLOW
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THE LEONA SERIES (for the bicentennial of Antonio de Torres)
Manuel Lucena (SICCAS GUITARS) talks with Wulfin Lieske about his work with the most famous guitar by Antonio de Torres - prod. by Siccas Guitars in July 2017
Very interesting and informative interview, thank!
Thank you for your feedback. I am happy you could benefit from this interview. Do you play guitar as well?
Best,
Wulfin
Wow that was very interesting! I like what you said that the guitar is never going to be loud enough... I think it's better as a guitar maker to focus on other things than volume...
Well I like presence, focus and, of course, power in a guitar. If there is not enough volume for big halls or ensemble I use amplification.
Thank you so much for doing this. I have noticed for some time that there was some issues I had with modern guitars and something that was so lovely about the sound of Torres (and those who build in that style), but I don't have the insight into the music to explain what is happening the way Wulfin did. I had the opportunity not too long ago to hear 2 performers a couple of weeks apart, both on Smallman guitars. During both concerts I had the same experience. The beginning of the concert was very engaging and sounded great (as you would expect from Zuefei Yang and Gaelle Solal) but as time went on I found myself less and less engaged in the music. My theory is, as the instrument strives to be totally even sounding on every note and project more - it is producing less overtones, which removes some of the character. So we move closer to a mechanical sound of evenness but start to lose the character.
Dear Bob, I do appreciate your remarks very much, indeed! In a way the guitar is a bridge between a violin/cello and a piano: it sways between a very personal singing approach and a more distant reserved mechanism. Both have their qualities, especially when they are performed together, but still the guitar has a strong personal, individual voice. If this is underrepresented he guitar looses - t can’t cope with the equilibrium of the piano but instead should speak with a very touching voice. A few pianists manage to to be very successful with that, but it’s not easy at all. With the guitar this is more natural. But you you have to do it - on a highly demanding level! That’s our fate! Best regards from Cologne Wulfin
Well, there is nothing wrong to put a top microphone in front of you to play for the 500 people in the hall.
I totally agree with Wulfin's point on the sound of modern guitar designs. We've given up quality of sound for volume. Yes, they are louder, but the quality and esthetics of their sound breaks down.
Romanillos had some strong objections to the modern design, and rightly so. The guitar is a very intimate instrument designed for small audiences. In that setting, the guitar shines unlike any other instrument.
Trying to make a guitar loud is like trying to make a poem long for the sake of prolonging it's beauty, eventually it will loose its essence and the audience.
Well there is nothing wrong putting a toi microphone in front of you and play for the 500 people in front of you.
@@WulfinLieske Your statement is true, especially with the great technology we have today.
What I meant was more towards designing guitars that sound loud at the expense of the quality of the sound.
As an analogy, play an audio tape recording in any speaker, the sound emminating from them won't be the same on an equal basis. The quality of the sound source matters.
By the way, I love your UA-cam recordings. I often show my daughters your videos so they can look at your technique and expressiveness. Their favorite is In Luce.
Thanks for taking your time to reply. I enjoyed this interview immensely.
Dear fan, if you want to show your daughters some new works of mine, then please have a look at the WULFIN LIESKE COMPOSER SESSIONS on my channel and let me, what they and you, of course, think. All the best Wulfin
5:30 _"if you play a Stauffer guitar from Vienna, it doesn't have this dimension like a Torres... it's a 2-dimensional guitar."_
I've never heard a top-quality Stauffer or copy thereof, and was wondering about it. And yes... maybe the truth is simple: it's only an average guitar.
Well they were produced in bulk and vary a lot. I had a very good one and it was good at being itself, there is a different tonal aesthetic.
Hi, that true as for the Mirecourt production. Amongst them I discovered a very charming Petit Jeane ca. 1820 which I used for the CD The Birth of the Guitar. Recently I played a beautiful Lacôte in Paris which is in the marvelous book of Alberto Martinez. Still it’s a giant step (yes!) to the 1856 Torres „La Leona“ and another one to Santos Hernández which I am crazy about today! Best Wulfin