Post by Charlie Post by Douglas Seth
Man, that was hard to listen to! I couldn't
make it the whole way through it. Give me
Segovia all day for Torroba or Turina, but this
is pretty awful.
Why? For me it's because in the original, the bass notes are not
held, they stop sounding after their 16th note duration. In this
segovia piece, he doesn't damp any strings, the bass notes just keep
ringing lending the piece a muddiness that was not meant, in my humble
opinion, to be there.
So do you think this piece cannot be done justice to on the guitar at
all? In the original not only are the bass notes in 16ths but
practically every other note is too, should they be also dampened as
well? It would sound very pizzicato-ish on guitar.
The cello has a very sonorous sustain and resonance that the guitar
doesn't, the only way to make this piece sound full as on the cello is
to let the bass notes and other chord formations to ring out.
Conversely since the cello is at its core a single-line melodic
instrument Bach wouldn't have written notes to ring out when they
couldn't either. Perhaps had he arranged this for guitar he would have
marked the bass notes differently. Comparing the same pieces by Bach on
different types of sustaining and non-sustaining instruments can give
us an insight. For example comparing the 3rd Violin Partita to its Lute
Suite #4 counterpart.
I think that is the beauty of playing this on the guitar as it casts
the melody and implied woven harmonies in a different light. Otherwise
might as well just play this on a mandolin ;-)