Two of my favourite guitarists _ever_ Both guitar Gods in their own right. Paco Pena was such an influence to me as a little boy who was trying to replicate his orchestral rhythmical sound when I had no idea what flamenco was about. He opened the door for me. John Williams just inspired me to be fluid and accurate with feeling. I think it so cool that these two cats know each other and hang out together.
It's so different. The classical version by Bream savours the notes, the traditional version orchestrated by Peña here, emphasises the rhythm, exuberance and buoyancy.
I don't think many people appreciate the level of humility it requires for a world class musician to say he's "taking lessons" from another world class musician. I adore Segovia, but it would be unthinkable for someone with his character to say he was taking lessons from anyone.
Two master guitarist together Beautiful, first time i saw Paco in Saddlers Wells theater early 70s Just couldn't believe one guitar could sound this good n fill the whole theater with beautiful sounds, one of the most pleasurable guitar albums i got is Paco playing Latin American music sadly Very scratched but when he plays La Bamba no other version comes close yellow bird sounds beautiful too but not been able to find it again LP or CD anyone has it Please upload it
While I am very glad to hear Seville played in such an energizing way, that reveals its flamenco origins, I don't believe it captures Albeniz' intent. Many late 19th century composers studied folk music, but sought to elevate it through what Dvorak called " bringing in the cavalry"- the full resources of classical harmony and counterpoint- to UPLIFT it, not just replicate it. It is a very delicate balance to capture the in-between quality of both a rhythmically strict physical dance, and the more elastic nuances of a mental dance. Is a Gigue by Bach, which, as John Williams knows well, is often fugal, and, coming at the end of a suite, introduces a whole new dimension into the suite; meant to be danced to? When Mr Williams plays Seville in a manner that Paco denounces as awful, he seems to go out of his way to lose the dance rhythm. which he does not do in his recorded versions. I believe, that the best approach will be true both to the folk origins, and the classical ENHANCEMENT of them.
You articulated what I was feeling Fred. The classical version is a performance version while the flamenco is for dance. If I'm sitting in an audience being entertained, Segovia's version is what moves me.
+Fred Haight I mostly agree with your view, although to me it doesn't matter much whether or not it captures Albeniz' intent: the fun about music is that it can have so many beautiful but very different interpretations. The thing I don't particularly like about this new version is that Williams seems so intent on keeping a strict dance rhythm, it loses much of the tension a bit of rubato can give.
Yes, and in a master class on the piece, Julian Bream stresses how the integrity of the dance rhythm cannot be lost, so I think Mr Williams and friend are being a bit disingenuous here.
I don't think many people appreciate the level of humility it requires for a world class musician to say he's "taking lessons" from another world class musician. I adore Segovia, but it would be unthinkable for someone with his character to say he was taking lessons from anyone.
20 years ago i intruduced my sisters to john william's sevilla record (from napster)... their reactions were: "it sounds like piano" and ''it's definitely 2 guys playing''...
a flamenco sevillana is quite another thing with rigid pulsing rhythm (originally played as accompaniment for singers and dance). The music of Albeniz, Granados, Turina etc. has a different background
It's so disheartening to see people who probably have very little talent of their own, spit venom at someone like John Williams for no other reason than petty jealousy. Oh well, I guess that's par for the course on UA-cam.
It is the easiest "virtue" to express. They have little to no talent, so they feel compelled to dump on others for their hard work. Old human problem...
Sarebbe bello un video nel quale il brano "Sevilla " sia oltre che suonato con le chitarre, danzato col suo naturale ritmo flamenco. In questo video i chitarristi e la ballerina hanno dato l 'idea di come allestire un delizioso spettacolo.
I guess there are no names, as you could think as a single. At the beginning he plays a Rumba and at 0:25, Sevillanas (I think the second guitar player is called "Didi"), both of them not considered Flamenco by many :-)
Segovia spent his whole life trying to establish the nylon string classical guitar as a pillar of pure classical art music, which he succeeded in doing. As a result, he was almost hostile to any kind of variation from the romantic idiom as he saw it. He disparaged the playing of two of guitar's greatest composers, Augustín Barrios Mangoré and Heitor Villa Lobos simply because they played steel string guitars. John benefits from being a second-generation, as it were, with a broader perspective.
Segovia tried hard but failed, the guitar for playing art music is still snubbed by the classical mainstream and lost sight of in the cacophony of myriads of louder, coarser guitars in pop, folk and jazz. Most people sadly don't look for beauty in music.
You are quite right about Segovia not playing Barrios but I don’t think you are with Villa Lobos I am pretty certain the 5 preludes were written for Segovia.
John and Paco, after 4 years I am writing another comment... May we please hear the Sevillana style with Sevilla woven into it? I wish I could find the whole piece played by these two Masters
I think this rendition is close to John's idea of infusing the classical style with the dance rhythm of the flamenco of Seviliana: → ua-cam.com/video/D5wpEN6DEdY/v-deo.html
This video is as old as 2006 or 2007 when I first watched it. Can anyone say, whether the Sevillana that they were jamming for, originating in Albeniz' Sevilla was ever finalized? Great work John and Paco. Now, after 8 years of showing us this wonderful jamming, can we finally hear the end result? The one thing I long to hear, crowning the wonderful career of these two splendid musicians is this. So again: Can we finally listen to Albeniz' Sevilla reincarnated as a Sevillana please..????
While his teacher Segovia doesn't seem to really like flamenco, It just shows that John Williams, not like Segovia, is open to flamenco and other kinds of music.
I agree Niko. Williams albums have covered a lot of different types of music down the years even forgetting Sky stuff. He is a very open guy and simply plays what he likes not want people think he should.
That is what he whats us to believe...i made a mistake, but the mistake he was going to do, wasnt able to come to life, he put his fingers wrong, but he didnt pull the strings
I am very glad to hear this, and to find Albeniz' Seville's roots, in flamenco. However, was it Albeniz' intent to perform it so literally as dance? Classical music, from at least Bach on, has treated dance as a delicate balance between a literal physical, and a more elastic, mental approach. Listen to Alicia de Larrocha play the piano original, and you will be surprised by the tempo variations. To my mind, Bream gets it right. He never loses the dance, but does allow it to pause and breathe.
Fred Haight I think there’s legitimate scope for interpretation there. Playing it with a danceable rhythm is a valid and interesting approach, and too much ornamentation ends up boring, but this isn’t a “sevillana” - fir a start, sevillanas are almost always played in a series of 4.
From 2:15 : he says 'it is a dance'....no it's not a dance, it's a classical composition where one is free to vary the rhythm. Alicia De Larrocha does this and, more to the point, John Williams does this himself in his 1964 recording, which, as a matter of fact, IMHO has much more fire and passion (and therefore Spanish character) than his later, rather tame version (of 1981). It's funny that he plays a fragment in the style of his 1964 recording (a bit exaggerated though) and than says 'it is awful'...
You are right; it is a classical composition. If he wanted dance, he should play in the flamenco style with the dancer, so that the music adds to the dance performance. However, with John Williams there is a caveat: he is a great interpreter of classical music, but a bad improviser. He wanted to go somewhere else from the purely classical approach, somewhere "in between dance and classical", and obviously needed some help. Paco Pena, on the other hand, is no classical guitarist therefore John needed much careful thought what to add to the classical piece that it does not sound brash and overly percussive like flamenco does. I heard his performance based on this approach, recorded in Monsalvat, Victoria, and it is rather interesting.
It’s an extremely humble thing John is admitting and doing in this clip. This is rare in classical guitar world. Note he can’t keep time through the entire piece, barely makes a page of it before falling off. It’s not about the actual dance, rather it’s about the rhythm the dance is based on. Anyway, the real dance is several clicks slower (the girl is dancing the actual dance in the clip). But again, few classical players admit to timing errors, rather make excuses to justify their interpretation.
I know Pena is a god at flamenco and John is very good at classical guitar. But for Pena to say John is the best when Julian literally revived Spanish guitar is sorta silly. Bream's version of this piece is so full of feeling and John's live performance at the end feels rushed. Idk.
@@hideare personal opinion… Williams playing Albeniz and Granados to me keeps the rhythm going more solidly than Bream but that’s just my opinion. It happens to be Paco Peña’s too he just said he found classical guitarists and indeed Spanish classical guitarists playing Spanish music take a lot of liberties with Rhythm that Williams does not. You just don’t like it because you prefer Bream and that’s fine!!!
@@bd1845 you may be right. I adore Bream. I love paco also. But in his playing i only hear traditional flamenco, in Bream, i hear something more, which i think was Albeniz's intention. Sorry if my comment seems arrogant. That was not my intention. I love them all.
John Williams is incredible but my one hang up with him is that unlike Bream he didn't commission pieces for the guitar by great composers and didn't even seem to even try. I love that he rediscovered Barrios but I just wonder why he hasn't pushed for more new pieces for the guitar by some of the greats. Pity because Bream brought so much more to the repertoire.
Sadly a lot of that repertoire is never played not because no one can but it’s not very memorable. Have you actually sat and listened to the Henze Royal Winter Music!!! I think with Williams and I agree somewhat with you but he’s just if you write a piece then do it not because I’m asking you, he has had a lot of pieces written for him down the years too though.
Two John Williams, 1) American film composer (StarWars, sci fi epics, won Oscars) 2) Australian Classical Guitarist, one if three favored by maestro Andres Segovia. This John Williams is one of the best of our era, globally famous. I admire both men for their professional contributions.
Segovia did not like the flamenco because he was fairly close minded. He did not like things to change. John Williams described Segovia's teaching method as authoritarian and wanted students to play with his style only, which he deemed the "right" classical way.Segovia was extremely dogmatic, when it came to the guitar.
Yes, it is folk. it is not classical. But Segovia's complaint was that the flamenco that Paco de Lucia and even Sabicas played was not real flamenco...Segovia was extremely arrogant. I think it was John Williams(if I am not mistaken) that played him a piece once, Segovia said that it was a nice piece, and proceeded to ask who wrote it. When Williams told him, and Segovia did not recognized the composer, he started to express some disdain.
Jørgen Oktober Storm Nestande Thyrum You would be surprised how much folk music is embedded into classical music from past to the present. Beethoven's 9th symphony is based on a melody from a drinking song of the day and his teacher Haydn especially loved folk music. Segovia was close minded. He did have a fairly large understanding of music, but with the guitar it had to be his classical understanding and approach. He once stopped a student from playing the chaccone in a master class because he did not use his fingering and then proceeded to kick him out. That's fucked up.
Segovia did a lot for the classical guitar, but he seems to have been rather petty and something of a snob. His attitude towards Paco de Lucia and Sabicas - each a greater genius than Segovia - did not befit a truly great musician. Contrast that with Paco de Lucia’s humility.
Juan Antonio Zuleta as you said, it is "based" on flamenco. Williams plays it like it is flamenco. Bream explains it in one of his interviews that Albeniz never intended to reproduce flamenco on piano, but to enhance it by classical piano style, and that means you do not play it in flamenco rhythm, as paco pena says rhythm is the key here and traditional rhythm is how this piece is NOT meant to be played. As simple as that.
hideare that is Bream’s interpretation of Albeniz’ intent. I believe Williams is correct. It is a Sevillana. A dance and Bream plays it the Segovia style, breaking the rhythm completely.
@@juanantoniozuleta6575 if you want to know Albeniz's intent, you should know that he composed it for piano. Listen to piano performances and see if they play it like williams or bream. Then think again please. Albeniz composition is not about rhythm at all.
hideare that it was composed for piano is common knowledge. You los seen to five piano players and you get five different interpretations...but it is still a sevillana. Williams ad Peña understand that perfectly.
Honestly, I think John Williams should have tried to learn real flamenco if he liked it so much. Those classical pieces are influenced by flamenco, they are not really flamenco pieces.
2 greatest guitarists, like best of friends, and living very close to each other, amazing job
Two of my favourite guitarists _ever_ Both guitar Gods in their own right. Paco Pena was such an influence to me as a little boy who was trying to replicate his orchestral rhythmical sound when I had no idea what flamenco was about. He opened the door for me. John Williams just inspired me to be fluid and accurate with feeling. I think it so cool that these two cats know each other and hang out together.
two great guitarists together! What a musical treat.
Todos los guitarristas clásicos desean tocar flamenco en algún momento de sus vidas.
Viva el flamenco y su toque
Simply two of the greatest of all time
It's so different.
The classical version by Bream savours the notes, the traditional version orchestrated by Peña here, emphasises the rhythm, exuberance and buoyancy.
Nice footage , thanks a lot
Exelente los dos. Que bueno descubrirlos gracias a lo que hicieron junto a al grupo Chileno Inti-Illimani.
¡¡¡Que maravilla Paco, cuánta gracia y duende!!! Se nota muchísimo la propiedad estilística y cultural de eso que toca.
Nice video. John Williams seems like a humble guy.
pro trick : you can watch movies on flixzone. Been using it for watching lots of of movies recently.
@Jayson David Yea, I've been using Flixzone} for years myself :D
I don't think many people appreciate the level of humility it requires for a world class musician to say he's "taking lessons" from another world class musician. I adore Segovia, but it would be unthinkable for someone with his character to say he was taking lessons from anyone.
Two master guitarist together Beautiful, first time i saw Paco in Saddlers Wells theater early 70s Just couldn't believe one guitar could sound this good n fill the whole theater with beautiful sounds, one of the most pleasurable guitar albums i got is Paco playing Latin American music sadly Very scratched but when he plays La Bamba no other version comes close yellow bird sounds beautiful too but not been able to find it again LP or CD anyone has it Please upload it
Probably one of the top 3 best guitarrist ever.
I LOVEEEEEEE YOUUUUUUUU BOTH
While I am very glad to hear Seville played in such an energizing way, that reveals its flamenco origins, I don't believe it captures Albeniz' intent. Many late 19th century composers studied folk music, but sought to elevate it through what Dvorak called " bringing in the cavalry"- the full resources of classical harmony and counterpoint- to UPLIFT it, not just replicate it. It is a very delicate balance to capture the in-between quality of both a rhythmically strict physical dance, and the more elastic nuances of a mental dance. Is a Gigue by Bach, which, as John Williams knows well, is often fugal, and, coming at the end of a suite, introduces a whole new dimension into the suite; meant to be danced to? When Mr Williams plays Seville in a manner that Paco denounces as awful, he seems to go out of his way to lose the dance rhythm. which he does not do in his recorded versions. I believe, that the best approach will be true both to the folk origins, and the classical ENHANCEMENT of them.
great comment Fred.
You articulated what I was feeling Fred. The classical version is a performance version while the flamenco is for dance. If I'm sitting in an audience being entertained, Segovia's version is what moves me.
+Fred Haight I mostly agree with your view, although to me it doesn't matter much whether or not it captures Albeniz' intent: the fun about music is that it can have so many beautiful but very different interpretations. The thing I don't particularly like about this new version is that Williams seems so intent on keeping a strict dance rhythm, it loses much of the tension a bit of rubato can give.
Yes, and in a master class on the piece, Julian Bream stresses how the integrity of the dance rhythm cannot be lost, so I think Mr Williams and friend are being a bit disingenuous here.
as said, it's a sevillanas, it should feel like the dance it is. A dance doesn't have crazy rubatos. Go listen to Pablo Casals play Bach
@MrMalcie Paco as well.
loved the dancer
I don't think many people appreciate the level of humility it requires for a world class musician to say he's "taking lessons" from another world class musician. I adore Segovia, but it would be unthinkable for someone with his character to say he was taking lessons from anyone.
perfection
браво !
20 years ago i intruduced my sisters to john william's sevilla record (from napster)... their reactions were: "it sounds like piano" and ''it's definitely 2 guys playing''...
Whoa 5:00
the audience looks like a oil painting no? lol
xD
I was thinking the same! Goya!
Lol WTF!! I went like "oh so it's a painting haha i thought it was re..." 'till a girl moved her arm and my brain started going nuts
Does anyone know from which documentary this excerpt is?
The finalizing of this piece together will soon celebrate 25 years in the making…
We’re still on the outlook for the release : (
a flamenco sevillana is quite another thing with rigid pulsing rhythm (originally played as accompaniment for singers and dance).
The music of Albeniz, Granados, Turina etc. has a different background
i meant "also a beautiful song at 0:25"
does anyone know the name of it or what part of spain its from?
tooooop
It's so disheartening to see people who probably have very little talent of their own, spit venom at someone like John Williams for no other reason than petty jealousy. Oh well, I guess that's par for the course on UA-cam.
uberbadami he’s a very humble guy to admit his timing is off. Many people won’t understand that.
It is the easiest "virtue" to express. They have little to no talent, so they feel compelled to dump on others for their hard work. Old human problem...
You are spot on.. sadly a lot of the people that do it are guitarists!!
The easiest thing on earth is to Hate.
The dancer is stunning
exactly im in love the dancer
Her boob is ripping out of the dress!
Interesting how, when Williams switches from playing classical to flamenco, he moves the guitar from his left to right leg. Fascinating.
It just feels right strumming the guitar on the right lap
Spectacular! What the name of the song in the beginning? I wanna play it!!!
The song is "Sevilla" by Isaac Albeniz. You can download the score at musescore.com/emperoni/sevilla
beautiful song at 0:25sec...
Sarebbe bello un video nel quale il brano "Sevilla " sia oltre che suonato con le chitarre, danzato col suo naturale ritmo flamenco. In questo video i chitarristi e la ballerina hanno dato l 'idea di come allestire un delizioso spettacolo.
Williams makes a mistake at 2:55? I refuse to believe it! lol
en el minuto 25 se toca un tango?
wich is the name of the songg that he plays with paco till 2:30
Sevilla
does anyone know the name of the song at the very beginning?
idk
It's Sevilla by Isaac Albeniz
What are the names of the songs in the beginning of the video and at 0:25?
I guess there are no names, as you could think as a single. At the beginning he plays a Rumba and at 0:25, Sevillanas (I think the second guitar player is called "Didi"), both of them not considered Flamenco by many :-)
Does anyone know when this interview was recorded?
Knut-Martin Rasmussen early 90s
Hello! Does anyone know the name of the documentary this was taken from?
I believe is called " the Seville concert " that part u watched is kinda like a bonus at the end of the dvd or Blu-ray.
John Williams: the film profile /watch?v=bYILHLFILAc
Segovia spent his whole life trying to establish the nylon string classical guitar as a pillar of pure classical art music, which he succeeded in doing. As a result, he was almost hostile to any kind of variation from the romantic idiom as he saw it. He disparaged the playing of two of guitar's greatest composers, Augustín Barrios Mangoré and Heitor Villa Lobos simply because they played steel string guitars. John benefits from being a second-generation, as it were, with a broader perspective.
Segovia tried hard but failed, the guitar for playing art music is still snubbed by the classical mainstream and lost sight of in the cacophony of myriads of louder, coarser guitars in pop, folk and jazz. Most people sadly don't look for beauty in music.
Steel strung, what nonsense!
@@bluedragon7925 that’s the worlds fault not Segovia’s then
You are quite right about Segovia not playing Barrios but I don’t think you are with Villa Lobos I am pretty certain the 5 preludes were written for Segovia.
He liked Cavatina, until he asked William's who wrote it.
John and Paco, after 4 years I am writing another comment...
May we please hear the Sevillana style with Sevilla woven into it?
I wish I could find the whole piece played by these two Masters
I think this rendition is close to John's idea of infusing the classical style with the dance rhythm of the flamenco of Seviliana: → ua-cam.com/video/D5wpEN6DEdY/v-deo.html
de donde sacan estos videos??
Esto es parte de un documental acerca de John Williams.
is the guy at the beginning someone random off the street or a recorded musician?
Lol imagine if it was some random on the street. Random people on the street everywhere playing flamenco
This video is as old as 2006 or 2007 when I first watched it.
Can anyone say, whether the Sevillana that they were jamming for, originating in Albeniz' Sevilla was ever finalized? Great work John and Paco. Now, after 8 years of showing us this wonderful jamming, can we finally hear the end result?
The one thing I long to hear, crowning the wonderful career of these two splendid musicians is this.
So again: Can we finally listen to Albeniz' Sevilla reincarnated as a Sevillana please..????
i wish we could find it or know if there is a full version
@@j_p1747 Me too I wish we had a recording of it
Sabicas recorded a version.
@@pleasepermitmetospeakohgre1504 i just saw it, it is nice
세계에서 가장 유명한 기타리스트들 중에 두분이 동시에 세비야 연주를 들려주시니까 정말 최고의 연주라는 생걱이 드네요.
While his teacher Segovia doesn't seem to really like flamenco, It just shows that John Williams, not like Segovia, is open to flamenco and other kinds of music.
I agree Niko. Williams albums have covered a lot of different types of music down the years even forgetting Sky stuff. He is a very open guy and simply plays what he likes not want people think he should.
Angel Romero uses rageos on Canarios.
Deux dieu de la guitare
That is what he whats us to believe...i made a mistake, but the mistake he was going to do, wasnt able to come to life, he put his fingers wrong, but he didnt pull the strings
I am very glad to hear this, and to find Albeniz' Seville's roots, in flamenco. However, was it Albeniz' intent to perform it so literally as dance? Classical music, from at least Bach on, has treated dance as a delicate balance between a literal physical, and a more elastic, mental approach. Listen to Alicia de Larrocha play the piano original, and you will be surprised by the tempo variations. To my mind, Bream gets it right. He never loses the dance, but does allow it to pause and breathe.
Fred Haight I think there’s legitimate scope for interpretation there. Playing it with a danceable rhythm is a valid and interesting approach, and too much ornamentation ends up boring, but this isn’t a “sevillana” - fir a start, sevillanas are almost always played in a series of 4.
@@DHTCF
Sabicas recorded it as a Sevillana.
Listen to Vicente Amigo.
thought that was Paco de Lucia
0:14 paying level 10000
Singing level -100😂
Young John Williams: /MrKUvB_C_k8
I'd say it's Sevilla (or perhaps Paco Peña) that infuses Flamenco into John Williams than the other way around
From 2:15 : he says 'it is a dance'....no it's not a dance, it's a classical composition where one is free to vary the rhythm. Alicia De Larrocha does this and, more to the point, John Williams does this himself in his 1964 recording, which, as a matter of fact, IMHO has much more fire and passion (and therefore Spanish character) than his later, rather tame version (of 1981). It's funny that he plays a fragment in the style of his 1964 recording (a bit exaggerated though) and than says 'it is awful'...
You are right; it is a classical composition. If he wanted dance, he should play in the flamenco style with the dancer, so that the music adds to the dance performance. However, with John Williams there is a caveat: he is a great interpreter of classical music, but a bad improviser. He wanted to go somewhere else from the purely classical approach, somewhere "in between dance and classical", and obviously needed some help. Paco Pena, on the other hand, is no classical guitarist therefore John needed much careful thought what to add to the classical piece that it does not sound brash and overly percussive like flamenco does. I heard his performance based on this approach, recorded in Monsalvat, Victoria, and it is rather interesting.
It’s an extremely humble thing John is admitting and doing in this clip. This is rare in classical guitar world. Note he can’t keep time through the entire piece, barely makes a page of it before falling off. It’s not about the actual dance, rather it’s about the rhythm the dance is based on. Anyway, the real dance is several clicks slower (the girl is dancing the actual dance in the clip). But again, few classical players admit to timing errors, rather make excuses to justify their interpretation.
Audience look like oil painting because I think this film was made in the early 90s
whose the flamenco guitarist John's playing with?
Paco Pena, as John says at 1:13
+st00fpot 👍
I didn't understand, cause I didn't watch the full documentary, and the format on how it is played I can't see there lips moving so well.
John & Paco have been colleagues, friends and neighbours in London since the late 60s.
This isn't an original idea.
Sabicas had already recorded it as a Sevillana.
For context
ua-cam.com/video/HaZgZJrJmdk/v-deo.html
I know Pena is a god at flamenco and John is very good at classical guitar. But for Pena to say John is the best when Julian literally revived Spanish guitar is sorta silly. Bream's version of this piece is so full of feeling and John's live performance at the end feels rushed. Idk.
Bream is the best. For me he is the only one who plays this piece as it was meant to be played
@@hideare personal opinion… Williams playing Albeniz and Granados to me keeps the rhythm going more solidly than Bream but that’s just my opinion. It happens to be Paco Peña’s too he just said he found classical guitarists and indeed Spanish classical guitarists playing Spanish music take a lot of liberties with Rhythm that Williams does not. You just don’t like it because you prefer Bream and that’s fine!!!
@@bd1845 you may be right. I adore Bream. I love paco also. But in his playing i only hear traditional flamenco, in Bream, i hear something more, which i think was Albeniz's intention. Sorry if my comment seems arrogant. That was not my intention. I love them all.
John Williams is incredible but my one hang up with him is that unlike Bream he didn't commission pieces for the guitar by great composers and didn't even seem to even try. I love that he rediscovered Barrios but I just wonder why he hasn't pushed for more new pieces for the guitar by some of the greats. Pity because Bream brought so much more to the repertoire.
Sadly a lot of that repertoire is never played not because no one can but it’s not very memorable. Have you actually sat and listened to the Henze Royal Winter Music!!! I think with Williams and I agree somewhat with you but he’s just if you write a piece then do it not because I’m asking you, he has had a lot of pieces written for him down the years too though.
Compare how the right hand of Paco and John is moving. That's the difference you have to born with it. A very difficult thing if you're not Spanish.
Very true..Spanish people are known for their extra 47th ''flamenco'' chromosome which includes the infamous ''rasqueado'' gene
john williams..composer of several amazing soundtracks? or is it another guy with the same name??
aaahh thanks,. all these years i thought " he plays like a beast and he alzó writes music for films" xD...
The latter!:)
Two John Williams,
1) American film composer (StarWars, sci fi epics, won Oscars)
2) Australian Classical Guitarist, one if three favored by maestro Andres Segovia. This John Williams is one of the best of our era, globally famous.
I admire both men for their professional contributions.
Segovia did not like the flamenco because he was fairly close minded. He did not like things to change. John Williams described Segovia's teaching method as authoritarian and wanted students to play with his style only, which he deemed the "right" classical way.Segovia was extremely dogmatic, when it came to the guitar.
Dude, no. Flamenco, which is folk, is not a part of European classical music.
Yes, it is folk. it is not classical. But Segovia's complaint was that the flamenco that Paco de Lucia and even Sabicas played was not real flamenco...Segovia was extremely arrogant. I think it was John Williams(if I am not mistaken) that played him a piece once, Segovia said that it was a nice piece, and proceeded to ask who wrote it. When Williams told him, and Segovia did not recognized the composer, he started to express some disdain.
Jørgen Oktober Storm Nestande Thyrum You would be surprised how much folk music is embedded into classical music from past to the present. Beethoven's 9th symphony is based on a melody from a drinking song of the day and his teacher Haydn especially loved folk music. Segovia was close minded. He did have a fairly large understanding of music, but with the guitar it had to be his classical understanding and approach. He once stopped a student from playing the chaccone in a master class because he did not use his fingering and then proceeded to kick him out. That's fucked up.
cuevasdecamuy maybe he was jealous of Paco :P
Segovia did a lot for the classical guitar, but he seems to have been rather petty and something of a snob. His attitude towards Paco de Lucia and Sabicas - each a greater genius than Segovia - did not befit a truly great musician. Contrast that with Paco de Lucia’s humility.
John Williams play Asturias better than any superb spanish classical guitarrist , better than Pepe Romero , Yepez , Segovia , anyone !
this is Albeniz...classical music...not flamenco. listen to Bream. that is how its meant to be played.
hideare it is based on a flamenco dance. A sevillana. Williams gets the true spirit of the piece.
Juan Antonio Zuleta as you said, it is "based" on flamenco. Williams plays it like it is flamenco. Bream explains it in one of his interviews that Albeniz never intended to reproduce flamenco on piano, but to enhance it by classical piano style, and that means you do not play it in flamenco rhythm, as paco pena says rhythm is the key here and traditional rhythm is how this piece is NOT meant to be played. As simple as that.
hideare that is Bream’s interpretation of Albeniz’ intent. I believe Williams is correct. It is a Sevillana. A dance and Bream plays it the Segovia style, breaking the rhythm completely.
@@juanantoniozuleta6575 if you want to know Albeniz's intent, you should know that he composed it for piano. Listen to piano performances and see if they play it like williams or bream. Then think again please. Albeniz composition is not about rhythm at all.
hideare that it was composed for piano is common knowledge. You los seen to five piano players and you get five different interpretations...but it is still a sevillana. Williams ad Peña understand that perfectly.
Honestly, I think John Williams should have tried to learn real flamenco if he liked it so much. Those classical pieces are influenced by flamenco, they are not really flamenco pieces.