Three interpretations give me goosebumps since learning of this outstanding piece - Segovia’s, Alvaro Pierri’s and now yours Jonathan - your playing is divinely inspired, thanks!
Sehr schöne Aufnahme, die nahezu ohne Vibrato und besondere Dynamik auskommen. Trotzdem sehr klangvoll und satt gespielt was nicht zuletzt an dem exzellenten Instrument liegt.
This is Fernando Sor original, without what Segovia changed in his version. I prefer this way. Very interesting the way you solved the problems in the left hand in the last section in E major.
Hi Bea, I would be interested to know what aspects of technique and musicality from my interpretation differ from the 19th century approach. Apart from the cushion of course haha All the best Jonathan
@@jrpguitar6164 Thank you, Dear Jonathan, for the civility of your reply and your query. The following things in your performance practice are not of the 19th century... #1. Your idea of tone as something which must be something of beauty. #2. You playing of the melody in such a way as you telegraph everything that is to come, leaving no surprise for there to be had. #3. Your total lack of willingness to exploit the guitar's greatest strength - variance of colour and texture. #4. Your minimizing of the ebb and flow of the general tempo of this piece. #5. Your plucking technique. #6. Your truncating of the dynamic range of this piece. The long and the short of it is this - you play lovely music in a lovely modern way, which is certainly fine, but, it is not the 19th century. If you want to remedy this, you can spend a couple of years listening to those pianists (Pachmann, Paderewski, Grunfeld, Rosenthal, Sauer, Cortot, etc, etc) or vocalists (Galli-Curci, Luisa Tetrazzini, Matteo Battistini, Enrico Caruso, Nellie Melba etc, etc,) who were born as early as the 1840s and whose recordings in the first two decades of the 20th century left a clear record of how musicians from that culture regarded the performance of musick. Be well!
C'est en tout cas un débat intéressant Béa et Jonathan. Ça me rappelle un livre d'Harnoncourt sur l'interprétation (et la compréhension) de la musique ancienne . Pour moi, qui n'ai aucune formation musicale, j'aime beaucoup l'interprétation que donne Jonathan de cette pièce étude de Sor.
Simply a giant artist. Very clear sounds, exvellent nuance and tschnic. Thanks for uploading.
Three interpretations give me goosebumps since learning of this outstanding piece - Segovia’s, Alvaro Pierri’s and now yours Jonathan - your playing is divinely inspired, thanks!
Beautiful Etude.Thanks Maestro Sor.❤❤❤
作曲者フェルナンド・ソルを尊敬しているのがよく分かります。
時々、上を見上げるのは、天国のソルを見ているのでしょう。
I wish I could hit the like button a hundred times.
Beaucoup de passion contenue dans cette magnifique interpretation. On se laisse emporter...
Très beau jeu. Très bien.
Fabulous
Best version I ever heard. Beautiful !!
wow....simply a giant artist. What a technic....What a nuance. I was completely impressed with your marvelous feelings...Thanks for uploading.
Just sublime. Bravo.
やっぱり19世紀ギターの音が好きです
Such a masterful performance on a truly beautiful instrument!
I loved that,will put this beautiful guitar on my wish list 👌🤞
なんて素敵な曲，演奏にも心を打たれました。
Beautiful ❤️✨
Un assoluto maestro 👏👏👏
Belíssimo! Bravo!!!
Божественно! Музыка великого Сора и мастерски исполнена! Спасибо!
Sehr schöne Aufnahme, die nahezu ohne Vibrato und besondere Dynamik auskommen. Trotzdem sehr klangvoll und satt gespielt was nicht zuletzt an dem exzellenten Instrument liegt.
Très beau.
Brillante ejecución. Felicidades.
Very very nice Sir! ❤❤❤❤❤
Please! Give me the sheet can you?
Thank you very much!
This is Fernando Sor original, without what Segovia changed in his version. I prefer this way. Very interesting the way you solved the problems in the left hand in the last section in E major.
Beautiful
👏👏👏👏👏👏👏👏👏👏👏👏👏
Que belleza por favor!!!!!!!
Sounds fantastic Sam. 👌👌
Excelente.
Very well done! I also studied this piece! Nice Guitar
Damn, this sounds good !
👏👏👏👏👏
💯💯💯👍👍👍👍👍👏👏👏👏👏❤❤❤
✔
I marry you 🌷🌷🌷🥰🥰🥰💋💋💋
you are out of C pitch.
You can buy a replica of an early 19th century guitar, but, if you play it with 20th century attitudes and technique it really is only a replica.
Hi Bea, I would be interested to know what aspects of technique and musicality from my interpretation differ from the 19th century approach. Apart from the cushion of course haha
All the best
Jonathan
@@jrpguitar6164 Thank you, Dear Jonathan, for the civility of your reply and your query. The following things in your performance practice are not of the 19th century...
#1. Your idea of tone as something which must be something of beauty.
#2. You playing of the melody in such a way as you telegraph everything that is to come, leaving no surprise for there to be had.
#3. Your total lack of willingness to exploit the guitar's greatest strength - variance of colour and texture.
#4. Your minimizing of the ebb and flow of the general tempo of this piece.
#5. Your plucking technique.
#6. Your truncating of the dynamic range of this piece.
The long and the short of it is this - you play lovely music in a lovely modern way, which is certainly fine, but, it is not the 19th century. If you want to remedy this, you can spend a couple of years listening to those pianists (Pachmann, Paderewski, Grunfeld, Rosenthal, Sauer, Cortot, etc, etc) or vocalists (Galli-Curci, Luisa Tetrazzini, Matteo Battistini, Enrico Caruso, Nellie Melba etc, etc,) who were born as early as the 1840s and whose recordings in the first two decades of the 20th century left a clear record of how musicians from that culture regarded the performance of musick.
Be well!
C'est en tout cas un débat intéressant Béa et Jonathan. Ça me rappelle un livre d'Harnoncourt sur l'interprétation (et la compréhension) de la musique ancienne .
Pour moi, qui n'ai aucune formation musicale, j'aime beaucoup l'interprétation que donne Jonathan de cette pièce étude de Sor.
@@beasheerhan4482 Are there any guitarists that you could add to that list?
@@beasheerhan4482 It's probably just all the smoke.
👏👏👏👏👏👏👏👏