See also: Yepes plays the Aranjuez with Rafael Frühbeck de Burgos in Santiago de Chile, 1991: ua-cam.com/video/U6tZnajCVlk/v-deo.html Yepes plays the Aranjuez with Rafael Frühbeck de Burgos in Frankfurt, 1979: ua-cam.com/video/tIHeP9mQY4E/v-deo.html Yepes plays the Adagio with Esa-Pekka Salonen in Geneva, 1986: ua-cam.com/video/ARdwm0b3YEo/v-deo.html Yepes plays the Aranjuez with Manuel Galduf in Valencia, 1987 (version 1): ua-cam.com/video/MB1cNQzWGJE/v-deo.html Yepes plays the Aranjuez with Manuel Galduf in Valencia, 1987 (version 2): ua-cam.com/video/ZdsFRQzMDAg/v-deo.html Yepes plays the Aranjuez with Odón Alonso in Madrid, c. 1970s: ua-cam.com/video/6leyNAhFBWw/v-deo.html Yepes rehearses the Adagio, c. late 1980s: ua-cam.com/video/03cthevz4ws/v-deo.html Yepes rehearses the Adagio in Lille, 1970: ua-cam.com/video/7mrZlDM7ZxI/v-deo.html Yepes plays the Aranjuez with Riccardo Muti in Milan, 1968: ua-cam.com/video/JxGhdagbt4g/v-deo.html
A revelacion. An epiphany. It has been a few days since a radical cancer operation. My morale has lifted enormously. I have lived in Aranjuez and will go there when I can. I should have been there for two weeks around the time of my operation. My surgeon urged me not to. I have loved this concerto for over forty years. I am a guitarist and now I REALLY want a ten string guitar.Viva el Maestro don Joaquin y don Narciso!
Who in the h.. world repeat an entire soloist movement as a encore!....Only masters as Yepez.Thanks for share ..I think that the audio engineer doesn´t pay enough for the guitar sound of Yepez (just my opinion) . But again, thanks for share this jewel :)
I once received hate mail from some clod who insisted that Yepes was an 'academic' who liked to stay home and study and didn't perform very widely. Moscow, Tel Aviv, Tokyo, Sydney, Cape Town, Buenos Aires, etc. (Not so much London.) It is funny what opinions or "alternative facts" some people cook up to resolve cognitive dissonance. And when you look into who the haters are, they almost invariably do tend to be of the "alternative-facts" and "our-medical-opinions-are-as-valid-as-a-doctor's" persuasion.
Once I saw or read an interview with Yepes and he admitted that he could not teach as much as he would like because of his busy touring agenda, he said he was touring during six months a year. Six months a year, if that is not performing widely I do not know what it is.
Before his long battle with cancer, he gave on average 150 performances a year, all over the world. There was an audience; there was interest. Now, the haters are going to hate. I have no interest in them. But I would say to the younger people who have not fallen into that trap -- which is a verbal hall of mirrors -- that, instead of hating what is *different* (what is Other), it may be worthwhile understanding *why* or *how* there was this sympathy between this performer and general audiences (including composers, conductors, pianists, orchestral musicians, of course, but more importantly *people* in general). Not to try to copy that but to learn something from it, synthesize it with your own particularity, and move on to new things. Because, I think, the guitar needs this. The audience cannot just be other "classical guitarists" and this kind of circular back-patting. That would inevitably have led to a dead end, even without a world changed by a pandemic.
@@10String I agree, everyone should develop their own ways to music, and instead of copying Yepes or whosever for the case, learn from them, take what they can or want and move on. Criticism of Yepes was alwasy rampant but it did not stop him from moving on. In a recent reading some people criticized his guitar with absurd arguments and he just pointed out the obvious, within the 10 string guitar there is a 6 string guitar, but he could dampen the resonance sounds he does not want in his playing, while in the 6 string guitar there is not such a resonance to mute.
Thank you very much Viktor! I´m a luthier from Buenos Aires, trying to make my first ten string guitar, do you have any thecnical information about the Bernabé guitar?
I'm sorry, Juan. I play guitar; I don't build them. That's not meant in an unpleasant way. I'm just a straightforward person who doesn't like to pretend to know about things I don't know. Good luck with your guitar!
Bernabe. Since Yepes came up with the concept for his instrument in 1963 and received it in '64, he played Bernabe's guitars, including the Ramirez ones he used initially, which were also built by Bernabe, then working for Ramirez. This does not seem to be one of Yepes's usual concert instruments, though, because the action seems not quite high enough. (Here and there the basses rattle a bit.)
The information came from one of his family members, several years ago. And I should note that I haven't verified it because I question the value of spending one's time on such researches. You know, there are "Segovia scholars" who can rattle off every biographical factoid about the man, short of a toilet schedule. But I will dare to say that the acquisition and cataloguing of that knowledge makes no difference to others' lives, as artists or otherwise. Even the scholars themselves learn nothing that makes them either artists in their own right or producers of such. And I know ("little birds tell me") that there is some fool out there who refers to me as a "Yepes scholar," so I don't want to feed into that storyline, especially by providing information that happens to have come to me by no effort of my own. Because what I did, what I asked and very extensively researched over the last decade were entirely different sort of questions altogether and about as far from the biographical details of a single personality as you can get. This will still be published, when the time is right, and it won't be about Yepes. For now, all I want to say is that Yepes happens to be a guitarist whose philosophy of music bears more on these questions than on glib, received answers that don't hold up to current scientific knowledge. And there are ideas related to Yepes that can make a difference in people's lives (if they're open-minded, if they don't already have hang-ups) -- opening different technical possibilities, different interpretive possibilities, different musical and emotional experiences, different audiences, and different ways of understanding the nature of being and the relation of music to it -- without thereby having to copy *anything* that he did or to accept anything uncritically. Sorry to hijack your comment/question, but it has to be said, nowadays, if I'm going to answer a biographical-type question. Because...boneheads...
@@10String Your answer is great and I appreciate it, indeed I am thankful for my comment so it brought up your answer, with which I totally agree, by the way.
See also:
Yepes plays the Aranjuez with Rafael Frühbeck de Burgos in Santiago de Chile, 1991: ua-cam.com/video/U6tZnajCVlk/v-deo.html
Yepes plays the Aranjuez with Rafael Frühbeck de Burgos in Frankfurt, 1979: ua-cam.com/video/tIHeP9mQY4E/v-deo.html
Yepes plays the Adagio with Esa-Pekka Salonen in Geneva, 1986: ua-cam.com/video/ARdwm0b3YEo/v-deo.html
Yepes plays the Aranjuez with Manuel Galduf in Valencia, 1987 (version 1): ua-cam.com/video/MB1cNQzWGJE/v-deo.html
Yepes plays the Aranjuez with Manuel Galduf in Valencia, 1987 (version 2): ua-cam.com/video/ZdsFRQzMDAg/v-deo.html
Yepes plays the Aranjuez with Odón Alonso in Madrid, c. 1970s: ua-cam.com/video/6leyNAhFBWw/v-deo.html
Yepes rehearses the Adagio, c. late 1980s: ua-cam.com/video/03cthevz4ws/v-deo.html
Yepes rehearses the Adagio in Lille, 1970: ua-cam.com/video/7mrZlDM7ZxI/v-deo.html
Yepes plays the Aranjuez with Riccardo Muti in Milan, 1968: ua-cam.com/video/JxGhdagbt4g/v-deo.html
Es una maravilla escuchar esta linda melodía y yo la escucho desde niño y de eso hace 60 años en Colombia 🇨🇴👍🚴🏼♂️
ORO PURO ESTOS VIDEOS. MUCHÍSIMAS GRACIAS!!...
Gracias por escucharlo.
A revelacion. An epiphany. It has been a few days since a radical cancer operation. My morale has lifted enormously. I have lived in Aranjuez and will go there when I can. I should have been there for two weeks around the time of my operation. My surgeon urged me not to. I have loved this concerto for over forty years. I am a guitarist and now I REALLY want a ten string guitar.Viva el Maestro don Joaquin y don Narciso!
Thank you for this touching comment and all the very best wishes towards your recovery.
I had a Still Born little boy. a long time ago. This provokes a profound sadness in me.
Wonderful concert
¡Excelente! Muchas gracias, siempre es impresionante ver y escuchar al Maestro Narciso Yepes.
An OUTSTANDING performance!
Thank you so much for sharing this wonderful gem!
Glad you enjoyed it!
ياالله ماهذه الروعة الفنية
ابحث عنها كاملة الاصلية
This version nearly brought me to tears. Thank you for bringing it to us.
Fantastic performance - Never heard it better
His scale runs are a wonder to behold
01:08 - First movement: Allegro con spirito
07:39 - Second movement: Adagio
08:21 - theme
11:52 - solo
14:16 - Cadenza
18:46 - Third movement: Allegro gentile
23:32 applause
28:21 Encore: Adagio
29:03 - theme
32:36 - solo
34:58 - Cadenza
Who in the h.. world repeat an entire soloist movement as a encore!....Only masters as Yepez.Thanks for share ..I think that the audio engineer doesn´t pay enough for the guitar sound of Yepez (just my opinion) . But again, thanks for share this jewel :)
これはいい・・・ギターの響きが画面を通して伝わってくるよ。
Unas de las mejores interpretaciones del fabuloso concierto de Aranjuez, por no decir la mejor interpretación.
GRANDISIMO NARCISO!
Busca una version con Rafael Frühbeck de Burgos de director es sublime.
realmente una obra maestra y la orquesta Bravissimooo
Great and greatness, thanks for upload. Greetings from Copenhagen..🇩🇰
Glad you're enjoying it.
素晴らしい。
イエペスのアランフェスでも極上の演奏ではないでしょうか !
流石 マエストロです… !
これを聴くと 他のアランフェンスは、聴けないですね❗
復元された日本からのビデオはまもなくリリースされます。 しばらくお待ちください。 どうもありがとうございます。 （申し訳ありませんが、私は日本語を話せません。自動的に翻訳されます。）
Its interesting to see the conductors in the concerts.
La persona que més bé ha interpretat el Concert d'Aranjuez ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡
Is this the only concert he was sitting in front of flowers?.so lovely
I once received hate mail from some clod who insisted that Yepes was an 'academic' who liked to stay home and study and didn't perform very widely. Moscow, Tel Aviv, Tokyo, Sydney, Cape Town, Buenos Aires, etc. (Not so much London.) It is funny what opinions or "alternative facts" some people cook up to resolve cognitive dissonance. And when you look into who the haters are, they almost invariably do tend to be of the "alternative-facts" and "our-medical-opinions-are-as-valid-as-a-doctor's" persuasion.
Once I saw or read an interview with Yepes and he admitted that he could not teach as much as he would like because of his busy touring agenda, he said he was touring during six months a year. Six months a year, if that is not performing widely I do not know what it is.
Before his long battle with cancer, he gave on average 150 performances a year, all over the world. There was an audience; there was interest. Now, the haters are going to hate. I have no interest in them. But I would say to the younger people who have not fallen into that trap -- which is a verbal hall of mirrors -- that, instead of hating what is *different* (what is Other), it may be worthwhile understanding *why* or *how* there was this sympathy between this performer and general audiences (including composers, conductors, pianists, orchestral musicians, of course, but more importantly *people* in general). Not to try to copy that but to learn something from it, synthesize it with your own particularity, and move on to new things. Because, I think, the guitar needs this. The audience cannot just be other "classical guitarists" and this kind of circular back-patting. That would inevitably have led to a dead end, even without a world changed by a pandemic.
@@10String I agree, everyone should develop their own ways to music, and instead of copying Yepes or whosever for the case, learn from them, take what they can or want and move on. Criticism of Yepes was alwasy rampant but it did not stop him from moving on. In a recent reading some people criticized his guitar with absurd arguments and he just pointed out the obvious, within the 10 string guitar there is a 6 string guitar, but he could dampen the resonance sounds he does not want in his playing, while in the 6 string guitar there is not such a resonance to mute.
When you see who the haters are, they are almost always, avid consumers of media propaganda.
Love wins Hatred looses in the end
Great!
AMAZING MIRACLE
Gracias! gracias! gracias!
Thank you very much!
Welcome!
Excelentisimo!!
I find this version very beautiful!
So good!
Qué joya!
Thank you very much Viktor! I´m a luthier from Buenos Aires, trying to make my first ten string guitar, do you have any thecnical information about the Bernabé guitar?
I'm sorry, Juan. I play guitar; I don't build them. That's not meant in an unpleasant way. I'm just a straightforward person who doesn't like to pretend to know about things I don't know. Good luck with your guitar!
Does anybody know what guitar is he playing?
Bernabe. Since Yepes came up with the concept for his instrument in 1963 and received it in '64, he played Bernabe's guitars, including the Ramirez ones he used initially, which were also built by Bernabe, then working for Ramirez. This does not seem to be one of Yepes's usual concert instruments, though, because the action seems not quite high enough. (Here and there the basses rattle a bit.)
@@10String I have always thought that the Ramirez he had was built by Bernabe. Thank you for the information.
The information came from one of his family members, several years ago. And I should note that I haven't verified it because I question the value of spending one's time on such researches. You know, there are "Segovia scholars" who can rattle off every biographical factoid about the man, short of a toilet schedule. But I will dare to say that the acquisition and cataloguing of that knowledge makes no difference to others' lives, as artists or otherwise. Even the scholars themselves learn nothing that makes them either artists in their own right or producers of such. And I know ("little birds tell me") that there is some fool out there who refers to me as a "Yepes scholar," so I don't want to feed into that storyline, especially by providing information that happens to have come to me by no effort of my own. Because what I did, what I asked and very extensively researched over the last decade were entirely different sort of questions altogether and about as far from the biographical details of a single personality as you can get. This will still be published, when the time is right, and it won't be about Yepes. For now, all I want to say is that Yepes happens to be a guitarist whose philosophy of music bears more on these questions than on glib, received answers that don't hold up to current scientific knowledge. And there are ideas related to Yepes that can make a difference in people's lives (if they're open-minded, if they don't already have hang-ups) -- opening different technical possibilities, different interpretive possibilities, different musical and emotional experiences, different audiences, and different ways of understanding the nature of being and the relation of music to it -- without thereby having to copy *anything* that he did or to accept anything uncritically. Sorry to hijack your comment/question, but it has to be said, nowadays, if I'm going to answer a biographical-type question. Because...boneheads...
@@10String Your answer is great and I appreciate it, indeed I am thankful for my comment so it brought up your answer, with which I totally agree, by the way.
😀
Unbearable goosebumps at 16:15
What do with the flowers?😂