ALBENIZ CORDOBA LLOBET PDF
Shop for a great value Albeniz Cordoba (Arr Llobet) here at London Guitar Studio today! Were passionate about Flamenco and Classical guitars, so pop in and. Julian Bream recorded Cordoba, in the middle is a section of Albeniz was of the same generation of Tarrega and Llobet, more or less. Now I’m studying the Llobet’s transcription of Córdoba. . Córdoba it’s the hardest Albeniz piece transcribed by Llobet and probably the hardest.
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Classical Guitar Skip to content. Forum guitare classique – Forum chitarra classica – Foro guitarra clasica – Free sheet music for classical guitar – Delcamp. Our website is made possible by displaying online advertisements to our visitors.
Please consider supporting us by disabling your ad blocker on our website. Discussions relating to the classical guitar which don’t fit elsewhere. What are the best arrangements of Albeniz? Cadiz, Codoba and Mallorca.
The book I’m using is ‘The llobft music of Spain’ vol 2 the one with a portrait of a Spanish woman laying beside a guitar, each book has a section of the picture. I first bought the book 10 years ago, my first attempts with the music didn’t get me very far, since then a decade of Bach and a BA later I find I can play them.
Julian Bream recorded Cordoba, in the middle is a section of tremolo, as my arrangement didn’t have this I worked out what Bream was doing and now use it.
Though I now wonder what arrangement he was using, does anybody know? I guess many of you play Albeniz and know what works and what doesn’t. Please spill the beans! His decision to use tremolo for that section is fairly anemic when compared to the full climactic rasgueados used by John Williams, Angel Romero, Pepe Romero, and others. IMO this is the high point of the piece, and the tremolo just doesn’t convey the same dramatic intensity. There is a very fine arrangement of op 47 right here on Delcamp.
For “Granada,” I used a nice old transcription by Konrad Ragossnig Schott publishing; and what ever happened to Ragossnig? I have been thinking about starting this piece for a while, but the thought of buying both transcriptions, and the cordobx version has put me off so far!
Albeniz was of the same generation of Tarrega and Llobet, more or less.
Their transcriptions are sometimes frowned upon as being too ‘guitaristic’ – apparently a crime these days as players try to get as close as possible to the original piano notation – yet they were definitely of the period, and Albeniz was of course influenced by the guitar I have Stanley’s arrangements somewhere. They are excellent llober transcriptions. Stanley would be the first to say they are not attempts to recreate the guitar style of the period, but an attempt to get closer to what Albeniz wrote.
Nothing wrong with that. I’m just saying that guitarists of Albeniz’s day – who clearly influenced Albeni – saw things differently.
I think that is worth thinking about? There might be a difference between what he wrote and what he implied The point is it is your call, as the performer. I’m just raising the questions. It seems to me there is a wider issue – going beyond the original post topic – that not only has the practice of arranging from one medium piano to another guitar changed over the last years, but guitars have changed too, becoming perhaps less ‘Spanish’, maybe more pianistic, even in tone, balanced.
I think these are worthwhile considerations when it comes to the highly subjective topic of ‘what are the best arrangements of Albeniz? I love different approaches at different times. Each arranger, albeiz or modern, highlights different nuances of the music.
You have to decide what speaks to you most. I just think that maybe the guys who knew Albeniz have something to teach us that maybe we’ve forgotten albehiz our push towards fidelity to the written score?
But do we have the guitars, strings and technique to realise what they heard? Are you asking me?
Llobet’s transcription of Córdoba – Classical Guitar
Does anyone know what the key differences are between the Barrueco and John Williams transcriptions of Cordoba?? Fool that I am, I try to play all of them and you get an enormous sense of appreciation for Manuel’s technical facility and musicianship by studying his arrangements and, in particular, his fingering.
I was thinking of getting Yates’ book also, it’s on my list. The best thing to do is get as many versions as you can stand and see which ones work best for you. You might also borrow ideas from different versions and create your own hybrid version, I do that all the time. Board index All times are UTC.