00:00 Etude No. 1 in E minor 2:07 Etude No. 2 in A major 3:28 Etude No. 3 in D major 5:54 Etude No. 4 in G major 10:08 Etude No. 5 in C major 12:46 Etude No. 6 in E minor 14:21 Etude No. 7 in E major 18:31 Etude No. 8 in C-sharp minor 21:18 Etude No. 9 in F-sharp minor 24:17 Etude No. 10 in B minor 26:20 Etude No. 11 in E minor 30:39 Etude No. 12 in A Minor
I had the privilege of meeting Eliot Fisk and hearing him live in New Paltz. He's a very nice person and a true virtuoso on the guitar. He's an exciting player and never boring.
No. 11 is probably my favorite. It's quite weird, and doesn't really sound like an etude at all. Fisk actually manages to get some of that brazilian spirit across. And he has balls to play this on a stage. I doubt many would want to listen to this though, especially non-guitarists.
I love Eliot Fisk's playing, he is always giving it 110% and his technique is almost greater than what his guitar has to give. I haven't heard him live, but these videos are the next best thing.
Like most classical guitarists, I studied these pieces as a young man, while listening to Segovia and other classical guitar performances of these pieces for inspiration and insight. However, it was not until seeing Eliot perform these some 4 decades ago, just as he does here, that they finally sounded musical. Eliot’s performances and interpretations of these works are unique, fascinatingly delicate and musically colorful. No other guitarist can come close to this man’s genius and abilities. Eliot never ceases to amaze. Thank you so much for posting.
I don't feel that way : study n2for instance sounds awefully shoddy, like too many other passages. IMO no comparison with the greatests ever like Segovia or Bream
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No. 5 in C is one of the most “underrated” etudes. It’s slow but you have to keep all those different lines of music moving then…that superb middle section.
Thank You! Most enjoyable to listen to. All of them! Etude No. 1 played 'Anime' (as presumably indicated by the composer himself) sounds quite atmospheric and much more evocative than played at its faster etudinal tempo that the guitar world has become used to.
What a great and interesting interpretation of the études. I love these. Fantastic tempo choices. You just gave me an entirely different view on no. 11 which is already my favorite anyway. Bravo sir. I'm only sorry I didn't hear your recital sooner.
Excellent performance!!! I wish he would record the etudes. He is definitely a showman. He's extremely bright. I took lessons from his childhood teacher who was an old coot! He raised his voice at me and couldn't play worth a damn and blew smoke in my face! No recording compares to Barrueco's etudes, imo! He nailed the etudes!!!
just doing one of these etudes in a recital is feat in itself. Fisk does all Twelve! Amazing performance and might have add that his style is so individual. World Class!!
Hallo Eliot Congratulations and thanks for this wonderful performance. It presents a great step for the guitar and meets the challenge of taking this masterpiece as one unit. El duende ! Bravo!
I read in many comments about 'taking risks' (or similar remarks), but music isn't about taking risks: if you have to take risks your technique simply isn't good enough for the chosen repertoire, which IMO is the case here...
Music is about interpretation - if you like Eliot listen to him - if you don't listen to someone else - I don't think Eliot cares about opinions - he plays with his passion and the way he enjoys it which is the way it should be. I for one enjoy his performances.
I think everything would be more musical if he reduced 8 bpm and used the extra headroom to focus on phrasing and the pulse of the music. There are things he seems to do because they are fun to do rather than fun to listen to.
One of the most expressive classical players I've yet come across. A greAt musician and true virtuoso! He uses dynamics to an incredible degree, though a little less attack on the bass side would improve his overall sound IMO. The instrument looks unique. Anyone know the maker/model?
There really should be a rule that requires anyone criticizing a musical performance video to post themselves performing next to their comments.....so many unknown yet know it all pseudo segovias in u tube comments... ffs.....
I suppose you mean "bashing" or "trolling". There is, unfortunately, little actual criticism in the sense of analysis or an examination of the performance. As I stated below in an older comment, if we had witnessed this performance LIVE, it would have been a whirwind, as the audience applause at the end demonstrates. The problem is an excess of pejoratives or superlatives (= mere opinions) and no real thinking beyond that box...or jail cell of the mind.
Why are you upset about other people critiquing a performance? It's what people do on RUclips. Also I quite like the old saying 'It doesn't take a baker to know the bread is stale.'
Trying to find video of Fisk doing the Aranjuez - any thoughts, anyone? The V Lobos scores are notoriously ambiguous - good to each artist do their thing.
He's fast, that was a fast 30 minutes of music. His tone is good but he gets sloppy on some notes. Its like the sixties rock and roll child's approach to classical guitar. I like it.
Have you seen his interpretation of the the Brouwer etudes ? It’s at the end of a Leo Brouwer tribute concert on here ? They are more of the an impoverished version of the ‘etudes simples’ they have to be seen and heard to be believed.
Nothing wrong with being very personal and flamboyant, but to me it is obvious that Elliot Fisk hasn't got enough technique to play all of these pieces as he wants to play them from the point of speed. And yes that is an assumption, but I can't imagine he hears these pieces inside the way he plays them. Mr Fisk changes the score as a practical result of this approach and it is not getting any better by that. In my opinion he puts himself too much in the center and not the music and I am not against that, Segovia and Bream are perfect examples in which case that really works. Often it is said that the quality of mr. Fisk's playing is the fact that he takes risks. But the point is: his playing in many fast passages is not a risk but a prediction that these will be played sloppy. Risks are related to adventures and also can work out really well. When I want the adventure I rather listen to great improvisers like Allan Holdsworth or John mc Laughlin or the flute player with whom I play, the great Chris Hinze. Everything is a matter of taste of course and from that point of view I can honestly say it is not my cup of tea for the reasons I have just sketched. What I also want to say is that when mr Fisk playes at a tempo which does not prevent control off movements ( e.g. Etude 4 ) he really plays beautiful and poetic and more connected to himself as well as the listener, I rather hear that inner dimension, that emotional spectrum because I truly feel that in the essence he is a great musician.
Agreed. Thank goodness there was a RUclips posting of Julian Bream playing the same 12 Etudes. Had to listen to that after listening to Eliot Fisk. Julian Bream did play a concert of Villalobos pieces and his recording of the concerto is excellent. ruclips.net/video/_aIKGrlGg2g/видео.html
Mr fisk confond vitesse et précipitation au détriment de la technique et de la musicalité, on se doit de respecter le texte original du génial Heitor-Villa-Lobos, il faut énormément de technique pour jouer ces études je pense que mr Fisk ne la possède pas , il masque par des effets des failles techniques dans beaucoup de traits, l'étude 4 est plus maîtrisée mais aussi moins difficile que l'étude 2 par exemple dans laquelle on ne comprend rien à ce qui se passe, dans l'ensemble c'est assez catastrophique surtout lorsque l'on jouit d'une réputation internationale, Mr Fisk n'est décidément pas ma tasse de thé.
Exactement dit monsieur, je pense absolument le même. Ce qui j’aime le moins sur son interprétation est le ton, parce que ce ressemble à banjo plus que à guitar à mon avis.
Breathtaking & beautiful - thank you for your inspiration :-) - Du bist für mich immer der "best rockende" klassische Gitarrist, einer der echt Standards, was erreichbar ist, setzt... Danke nochmal für die wunderbare Zeit in den 80ern als ich an der Kölner Musikhochschule von Dir lernen durfte. Du hast mich für mein ganzen Gitarrenleben inspiriert... Gracias!
FISK RISK -The fastest number 2 and 3 ever heard ... it's possible! Clean enough too each note !! Twelve thrilling concert studios, when played so well, treasure in the hands of an hero ... I can't stop listening !!! Small errors are part of a real "without rescue-net" performance that only Fisk risks. Dinamics, colours, nuances, expression are rarely displayed with so secure verve. Usually we listen the algid "studio" perfection details caused by the difficulty of studies 1-2-3-7-9-10-12 or the "lyrical expression" of studies 4-5-6-8-11. Fisk obtains the mastering of such ingredients in pieces still not commanded, as an Academic standard, after now 90 years, by many famous "maestros", (that should play these as the pianists play the Chopin studies of another 90 years before!! ... Personally I find some accents on scales,like in n.7, a bit old mannered but this is his style. Very effective the "non stop" in between every study, as a unique "piece of art". Fisk strives to render each technique an "expressive tool", and so realistic when it is almost ideal for speed and meaning in the Villa-Lobos creativity, for example in n.8 final part. The slurs in n.10 are over any common standard, and represents the pinnacle of the whole series, ending with a real terrific sound in the n.12....The audience enthusiam confirm this great achievement.
A parte da escala cromática do Estudo No1 sem trastejar, é isso!!!!! Ouço muitos grandes guitarristas que trastejam em todas as casas da escala cromática.
No. 1 -- Fisk version is way too fast in my opinion -- especially the first run. Compare the Andrzej Wilkus performance here on RUclips; Wilkus actually lets you HEAR the chords and the run.
Segovia's apprentice...brilliant! BRAVO! Bel Canto technique in the right and the left hands..won't know it if you don't study Segovia's and Sabicas technique. Modern classical guitar technique just doesn't cut it..one dimensional...listen to this master at work.
Haha..love it. First check out on youtube...Eliot Fisk plays some Scarlatti sonatas: Sonata In G Major K146; Sonata in A Major; Sonata in E Major K380. You will have to show me somebody on youtube doing a better job...you won't find them I promise you. Look at Elliot Fisks career and the amount of composers writing for him..there is good reason for this. 1. his sound has more depth than modern players. 2. his technical ability on the instrument. 3. his outstanding knowledge of harmony and musicianship in general. 4. the emotional content in his delivery..Bruce Lee...EMOTIONAL CONTENT not mechanical. 5. willing to take risks = a performance that is not too dry and reserved or stiff or flat and uninteresting. So I challenge you to find me somebody with all these attributes. Cheers and good luck!
I think he plays too fast. Manuel Barrueco plays a more moderate tempo, and is much more expressive. If you like speed demons just listen to Pepe Romero
Unbelievable technique but his uneven tempo is just to unbearable to listen to. He maybe the fastest guitarist to play these Etudes but there to sloppy for me. I think Manuel Barrueco blows Eliot Fisk away with his precision, sound, tempo and musical brilliance. Sincerely this performance sucks. I have heard very young guitarist play better than this.. Also I went to his Yale concert in 1982 with a winning concert pianist and he performed all 12 Etudes. And we both agreed this was the worst concert we ever attended. His guitar playing just irritates me so much I hate the classical guitar.
I understand your comment and understand this criticism (actually, quite common regarding Fisk). I also understand that you probably (as all of us do) envision an ideal sound, ideal performance and when you see it, it´s wonderful. Fisk is essentially an Dyonesian player, whereas Manuel is more of the Apollonian: one is pure emphasis, while the other is stately, understated. I think we need to adjust our ears to the different kinds of pathos each artist conveys: the "better than", "worst than" is just opinions, not actual analysis of what the performer´s trying to do. Fisk attempts these grandiose gestures, the flamboyant, the histrionic: Manuel is his opposite. Isn´t that great that the ice cream comes in different flavors? The more you can appreciate, the more you´ll like the variety of ice cream. I enjoyed this very much. It was a very organic performance of the 12 as 1 whole piece. There is great musicality here: Eliot at times may not realize his own energy level and what´s being conveyed: he may not at times realize his performance is "yelling" or even "screaming" because there´s such a connection between him and the music (on an internal level), that he may not realize he´s twanging here, sounding harsh there. Yes, this is the Dyonesian: it´s almost as if he´s in a trance and oblivious to the impression he´s causing on other. I think that´s great: maybe not all the time, but here something has been said. One gets that sense of overflowing energy here. This live (judging from the applause) would give us a totally different impression of what we´re seeing. But certainly, not anywhere near as precise as Barrueco´s or Fábio Zanon; the tempos are stretched to the outer limits, the dynamics exploding. IMO, the strings should have bust; the neck gone flying off and the whole soundboard imploded... One could say sloppy (actually, look at Etude 2 - the least musically interesting and he hardly flubs - there´s no way for that total precision with this approach. He´s just putting too much energy into it: that may put off some people: there are mistakes, sure, but notice how many notes are played and how many are really atrocious mistakes? With the note-perfect player, the regularity may eventually come to bore you; here, I guarantee, no one was bored, despite the flubs here and there. Sure: no silky tone of David Russell here, but there´s something here that I pick up and I enjoy it. A very human quality. Of a different sort of human quality in the performances of Russell or Barrueco. A different personality, and given the fact that so many people seemed cloned today, we should delight when personality, individuality appear: something that doesn´t belong to the herd or tribe. There should be more attempt to understand what each performer is trying to do rather than just revealing our taste (we know what we like best, but that should not stop us from trying to understand why we don´t care for something else). Looking for the reasons for our interest, or lack thereof (I think that was Henry James´ - the novelist - definition of criticism). I´ve seen a lot of Fisk bashing (where there are angels, there will be trolls): that´s not your case, yours is a valid observation, but also a preference of taste. There are many modes of being, all valid and revealing of the diversity of humankind. Fisk has something that I admire; so does Barrueco, so does Fábio Zanon, so does Narciso Yepes (another maligned player). But the fact that such a performance can generate such extremes of opinion means that (as Oscar WIlde would have it), that this art is alive and vital. Thank you for your comment. Best
Hello. It's understandable for a non guitarist to express hatred for the classical guitar. I used to hate it too, long time ago. But now it's my life. How is it possible? From my own experience i guarentee you that you actually have no idea what classical guitar is at all. Because you haven't heard the essential masters: Andres Segovia, Narciso Yepes and Julian Bream. These three showed me what the classical guitar is really all about: an extremely difficult instrument from a technical point of view which brings to the world the most wonderful musical sounds, if its played well, as they did. I play the guitar and yes, it's a very treacherous and unstable instrument. But to be honest, once i heard those three masters i think it's a nonsense and impossible for me to try to play another instrument which is not the classical guitar. I reccomend you to listen to the old school, especially those three i mentioned. Those were the real guitarists for me. I have some Segovia and Yepes in my channel, in my favourites and uploads. Listen to those and i guarentee you that you will never ever say that you hate the classical guitar, but actually the absolute opposite. hahah
Believe me, ignorance is a terrible thing. You are suffering from it. Listen to what i've told you and you will be cured. Start from this for example: /watch?v=9y2KTvSPwZY OR/AND /watch?v=b5jNPfa7x6Y If you are a real music lover you will find your mecca there. LOL
"His guitar playing just irritates me so much I hate the classical guitar." Rather than detesting the instrument because you have the same opinion of Fisk that any knowledgeable listener has, may I suggest cruising RUclips for far-less-detestable videos of the second etude by players who actually play the notes instead of missing about half of them. I quickly turned up Xingye Li, Liying Zhu, Tal Hurwitz, Matt Palmer (who at least shows that he can play very fast and, unlike Fisk, actually play the notes), and of course, Bream.
He has an enviable technique that he uses abs. Time and phrasing inaccuracies, cabbage accents, impressive reading errors, has not yet been realized, among the many errors that the study 7 in the final measures, VIF, does not start with two sixteenths as usual but with TRE. Yet he plays the sentence like the previous ones and ends up out of time. Unacceptable by a student, horrible by a professional. And how many confectioners, certainly made in speed, but incomprehensible. Example beats 23 and 24 of study 1, are absolutely incomprehensible, the goliardic attempt to put in a couple of seconds all the notes, even if everything then becomes an incomprehensible chaos in the ascending part. I don't like nothing.
Mark, prova a ragionare sugli argomenti, sulle affermazioni e sui clamorosi errori di Fisk, assolutamente inascoltabile, e non sulla grammatica e sulla sintassi. Tu sei come quello al quale indicando col dito una stella dicendo "guarda" , lui guarda il dito. Bravo furbo, parlare con te è uno spasso. Peccato che mentre scrivo in sottofondo Fisk fa un casino! Comunque Mark se non sai dove andate chiedi, e ti ci mando io.
a lot of classical music on guitar is technically brilliant and takes years of dedication but the reality of it is not pleasing to the ear even when played by a mistro like mr fisk give me f taregra eny day of the week
A) The compositions are pretty weak and uninteresting with a lot of silly repetitions, Give me Bach any day. B) the audio recording is too live and the mic possibly too far, sound is not very clear C) the playing lacks a good flow, is mishmash, rushed and filled with errors. Are the comments here by the Fisk's own various accounts to whip up sales for his concerts promoted on FB? This many people cannot be that out of it.
Not the biggest Fisk fan, and I know this comment is 3 years old, but I have to correct you that the repetitions are not from Villa Lobos’s original manuscript. They are a change made by Segovia - one of many controversial ones.
Furious, out of breath, creaking with haste for the last train? Maybe there is technology there, there certainly is, but why? There is no music. Lobos already has very difficult phrases that require intelligent interpretation, so a game like Fiska makes it very difficult. I have no idea what this guitarist was talking about.
![Marcin Dylla - Five Preludes by Heitor Villa Lobos [ACG Benefit Concert]](http://i.ytimg.com/vi/2x0cxSoTYBU/mqdefault.jpg)
00:00 Etude No. 1 in E minor
2:07 Etude No. 2 in A major
3:28 Etude No. 3 in D major
5:54 Etude No. 4 in G major
10:08 Etude No. 5 in C major
12:46 Etude No. 6 in E minor
14:21 Etude No. 7 in E major
18:31 Etude No. 8 in C-sharp minor
21:18 Etude No. 9 in F-sharp minor
24:17 Etude No. 10 in B minor
26:20 Etude No. 11 in E minor
30:39 Etude No. 12 in A Minor
Tom Poore
Tom Jobim vida
Thanks for this work, helps a lot in going to ones I wanted to hear! thank you,
That’s the best of no. 5 I’ve ever heard, despite the technical hiccups, the musicality wins out.
It’s undeniably beautiful.
I had the privilege of meeting Eliot Fisk and hearing him live in New Paltz. He's a very nice person and a true virtuoso on the guitar. He's an exciting player and never boring.
No. 11 is probably my favorite. It's quite weird, and doesn't really sound like an etude at all.
Fisk actually manages to get some of that brazilian spirit across. And he has balls to play this on a stage. I doubt many would want to listen to this though, especially non-guitarists.
very great maestro !!
I love Eliot Fisk's playing, he is always giving it 110% and his technique is almost greater than what his guitar has to give. I haven't heard him live, but these videos are the next best thing.
Impressive! What a energy!
Like most classical guitarists, I studied these pieces as a young man, while listening to Segovia and other classical guitar performances of these pieces for inspiration and insight. However, it was not until seeing Eliot perform these some 4 decades ago, just as he does here, that they finally sounded musical. Eliot’s performances and interpretations of these works are unique, fascinatingly delicate and musically colorful. No other guitarist can come close to this man’s genius and abilities. Eliot never ceases to amaze. Thank you so much for posting.
I don't feel that way : study n2for instance sounds awefully shoddy, like too many other passages. IMO no comparison with the greatests ever like Segovia or Bream
@@williamotule Turibio Santos is my favorite player performing Villa Lobos
@@alonsoperez3637 yes sorry I didn't mean to sound mean
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I somehow lost the account password. I would appreciate any tips you can offer me.
@Juelz Baylor instablaster :)
Elliot plays close to the cliff edge, takes risks. His playing is exciting and enjoyable, when so many are exact and robotic.
I totally agree.
People love him or hate him...
He falls off the cliff way too often...
No. 5 in C is one of the most “underrated” etudes. It’s slow but you have to keep all those different lines of music moving then…that superb middle section.
Hella difficult to balance the voices
Thank You! Most enjoyable to listen to. All of them! Etude No. 1 played 'Anime' (as presumably indicated by the composer himself) sounds quite atmospheric and much more evocative than played at its faster etudinal tempo that the guitar world has become used to.
Amazing performance! at last a rendition of the Villa-lobos etudes full of colors and not the usual boring performances
I enjoyed this very much!
What a great and interesting interpretation of the études. I love these. Fantastic tempo choices. You just gave me an entirely different view on no. 11 which is already my favorite anyway.
Bravo sir. I'm only sorry I didn't hear your recital sooner.
Excellent performance!!! I wish he would record the etudes. He is definitely a showman. He's extremely bright. I took lessons from his childhood teacher who was an old coot! He raised his voice at me and couldn't play worth a damn and blew smoke in my face! No recording compares to Barrueco's etudes, imo! He nailed the etudes!!!
just doing one of these etudes in a recital is feat in itself. Fisk does all Twelve! Amazing performance and might have add that his style is so individual. World Class!!
The most beautiful video ever
I have no doubt about it my friend
Hallo Eliot
Congratulations and thanks for this wonderful performance.
It presents a great step for the guitar and meets the challenge of taking this masterpiece as one unit. El duende ! Bravo!
12 studies on stage that's amazing ! Wow....
I read in many comments about 'taking risks' (or similar remarks), but music isn't about taking risks: if you have to take risks your technique simply isn't good enough for the chosen repertoire, which IMO is the case here...
Bravo! Super technische Leistung!
Amazing. Simply stated, he is the best American born classical guitarist. Thanks for posting.
An amazing artist!
Genial guitarristaaaaaaaa
Music is about interpretation - if you like Eliot listen to him - if you don't listen to someone else - I don't think Eliot cares about opinions - he plays with his passion and the way he enjoys it which is the way it should be. I for one enjoy his performances.
Congratulations, Eliot. Great Job.
Breath-taking performance with much colours and risk-taking that makes it sound exciting! Brilliant!
And those singing lines are heaven!
I don't know why people keep comparing one player to another. It just doesn't work. Each professional guitarist will be different.
Because there is no too much thinking brains on earth...
I think everything would be more musical if he reduced 8 bpm and used the extra headroom to focus on phrasing and the pulse of the music. There are things he seems to do because they are fun to do rather than fun to listen to.
What guitar is he playing? Anyone knows?
One of the most expressive classical players I've yet come across. A greAt musician and true virtuoso! He uses dynamics to an incredible degree, though a little less attack on the bass side would improve his overall sound IMO. The instrument looks unique. Anyone know the maker/model?
There really should be a rule that requires anyone criticizing a musical performance video to post themselves performing next to their comments.....so many unknown yet know it all pseudo segovias in u tube comments... ffs.....
I suppose you mean "bashing" or "trolling". There is, unfortunately, little actual criticism in the sense of analysis or an examination of the performance. As I stated below in an older comment, if we had witnessed this performance LIVE, it would have been a whirwind, as the audience applause at the end demonstrates.
The problem is an excess of pejoratives or superlatives (= mere opinions) and no real thinking beyond that box...or jail cell of the mind.
Why are you upset about other people critiquing a performance? It's what people do on RUclips. Also I quite like the old saying
'It doesn't take a baker to know the bread is stale.'
Lots of respect .. Really a very amazing performance 🤗🤗🤗
A really great performance.
Nice guitar
Trying to find video of Fisk doing the Aranjuez - any thoughts, anyone? The V Lobos scores are notoriously ambiguous - good to each artist do their thing.
He's fast, that was a fast 30 minutes of music. His tone is good but he gets sloppy on some notes. Its like the sixties rock and roll child's approach to classical guitar. I like it.
Have you seen his interpretation of the the Brouwer etudes ? It’s at the end of a Leo Brouwer tribute concert on here ? They are more of the an impoverished version of the ‘etudes simples’ they have to be seen and heard to be believed.
Amazing
Nothing wrong with being very personal and flamboyant, but to me it is obvious that Elliot Fisk hasn't got enough technique to play all of these pieces as he wants to play them from the point of speed. And yes that is an assumption, but I can't imagine he hears these pieces inside the way he plays them. Mr Fisk changes the score as a practical result of this approach and it is not getting any better by that. In my opinion he puts himself too much in the center and not the music and I am not against that, Segovia and Bream are perfect examples in which case that really works. Often it is said that the quality of mr. Fisk's playing is the fact that he takes risks. But the point is: his playing in many fast passages is not a risk but a prediction that these will be played sloppy. Risks are related to adventures and also can work out really well. When I want the adventure I rather listen to great improvisers like Allan Holdsworth or John mc Laughlin or the flute player with whom I play, the great Chris Hinze. Everything is a matter of taste of course and from that point of view I can honestly say it is not my cup of tea for the reasons I have just sketched. What I also want to say is that when mr Fisk playes at a tempo which does not prevent control off movements ( e.g. Etude 4 ) he really plays beautiful and poetic and more connected to himself as well as the listener, I rather hear that inner dimension, that emotional spectrum because I truly feel that in the essence he is a great musician.
Agreed. Thank goodness there was a RUclips posting of Julian Bream playing the same 12 Etudes. Had to listen to that after listening to Eliot Fisk. Julian Bream did play a concert of Villalobos pieces and his recording of the concerto is excellent.
ruclips.net/video/_aIKGrlGg2g/видео.html
Not enough technique ?? ruclips.net/video/MypXTQI-Pgc/видео.html
These little errors count for nothing when the performance is as inspired as it is here. BRAVO ELIOT FISK!!!!
Mr fisk confond vitesse et précipitation au détriment de la technique et de la musicalité, on se doit de respecter le texte original du génial Heitor-Villa-Lobos, il faut énormément de technique pour jouer ces études je pense que mr Fisk ne la possède pas , il masque par des effets des failles techniques dans beaucoup de traits, l'étude 4 est plus maîtrisée mais aussi moins difficile que l'étude 2 par exemple dans laquelle on ne comprend rien à ce qui se passe, dans l'ensemble c'est assez catastrophique surtout lorsque l'on jouit d'une réputation internationale, Mr Fisk n'est décidément pas ma tasse de thé.
Exactement dit monsieur, je pense absolument le même. Ce qui j’aime le moins sur son interprétation est le ton, parce que ce ressemble à banjo plus que à guitar à mon avis.
@@unwrought9757 Ha,ha,ha,ha,,,,,,and chase train.
Go home buddy, Fisk is legendary, an original, and has more than enough technique for these études…
Muy buenas versiones. Al estilo virtuoso y loco del Maestro Fisk.
✔
Breathtaking & beautiful - thank you for your inspiration :-) - Du bist für mich immer der "best rockende" klassische Gitarrist, einer der echt Standards, was erreichbar ist, setzt... Danke nochmal für die wunderbare Zeit in den 80ern als ich an der Kölner Musikhochschule von Dir lernen durfte. Du hast mich für mein ganzen Gitarrenleben inspiriert... Gracias!
yo cre que supera todas las intetpretaviones y se a convertido en un paradigma dr la interpretacion ide la guitarra
wonderful played!
The best performance of these etudes l've ever heard. Eliot Fisk is Segovia's follower, by the way. Bravo!
¿Tanto así?
Vendría bien que escucharas a Álvaro Pierri
Eliot vc é o Kara parabéns!
in many ways, the best guitarist on the planet.
FISK RISK -The fastest number 2 and 3 ever heard ... it's possible! Clean enough too each note !! Twelve thrilling concert studios, when played so well, treasure in the hands of an hero ... I can't stop listening !!! Small errors are part of a real "without rescue-net" performance that only Fisk risks. Dinamics, colours, nuances, expression are rarely displayed with so secure verve. Usually we listen the algid "studio" perfection details caused by the difficulty of studies 1-2-3-7-9-10-12 or the "lyrical expression" of studies 4-5-6-8-11. Fisk obtains the mastering of such ingredients in pieces still not commanded, as an Academic standard, after now 90 years, by many famous "maestros", (that should play these as the pianists play the Chopin studies of another 90 years before!! ... Personally I find some accents on scales,like in n.7, a bit old mannered but this is his style. Very effective the "non stop" in between every study, as a unique "piece of art". Fisk strives to render each technique an "expressive tool", and so realistic when it is almost ideal for speed and meaning in the Villa-Lobos creativity, for example in n.8 final part. The slurs in n.10 are over any common standard, and represents the pinnacle of the whole series, ending with a real terrific sound in the n.12....The audience enthusiam confirm this great achievement.
A parte da escala cromática do Estudo No1 sem trastejar, é isso!!!!! Ouço muitos grandes guitarristas que trastejam em todas as casas da escala cromática.
One of the greatest. Love his passion
No. 1 -- Fisk version is way too fast in my opinion -- especially the first run. Compare the Andrzej Wilkus performance here on RUclips; Wilkus actually lets you HEAR the chords and the run.
Da eseguire alle olimpiadi per il record della velocità. 😢
Segovia's apprentice...brilliant! BRAVO! Bel Canto technique in the right and the left hands..won't know it if you don't study Segovia's and Sabicas technique. Modern classical guitar technique just doesn't cut it..one dimensional...listen to this master at work.
Haha..love it. First check out on youtube...Eliot Fisk plays some Scarlatti sonatas: Sonata In G Major K146; Sonata in A Major; Sonata in E Major K380.
You will have to show me somebody on youtube doing a better job...you won't find them I promise you. Look at Elliot Fisks career and the amount of composers writing for him..there is good reason for this. 1. his sound has more depth than modern players. 2. his technical ability on the instrument. 3. his outstanding knowledge of harmony and musicianship in general. 4. the emotional content in his delivery..Bruce Lee...EMOTIONAL CONTENT not mechanical. 5. willing to take risks = a performance that is not too dry and reserved or stiff or flat and uninteresting. So I challenge you to find me somebody with all these attributes.
Cheers and good luck!
Артемий Троицкий по совместительству гитарист? А я и не знал!
😅😅😅
18:00 lol what was he doing
It’s in the score
Good, but can he Djent?
Great! so not palying note-perfect is actually enjoyable! As a guitar player, thats a nice to know! (not sarcarsm)
RIP
wow.. 💪👍👍👍👍👍👍💞💜💘💗💖
I think he plays too fast. Manuel Barrueco plays a more moderate tempo, and is much more expressive. If you like speed demons just listen to Pepe Romero
Eli plays his own compositions Lol
Not always crazy about Fisk, but Etude 4 in his hands is better than any others.
Capisco perchè era il preferito da ALIRIO DIAZ !!!
Fisk ! Non ti hanno fischiato !!!
Clueless audience has not the sense to refrain from applauding between pieces.
Lo studio n. 2 non si capisce un cazzo
Childish.
Anyone wanna hear the difference please listen to Barrueco plays Lobos album
Slow down buddy...
Unbelievable technique but his uneven tempo is just to unbearable to listen to. He maybe the fastest guitarist to play these Etudes but there to sloppy for me. I think Manuel Barrueco blows Eliot Fisk away with his precision, sound, tempo and musical brilliance.
Sincerely this performance sucks. I have heard very young guitarist play better than this..
Also I went to his Yale concert in 1982 with a winning concert pianist and he performed all 12 Etudes. And we both agreed this was the worst concert we ever attended.
His guitar playing just irritates me so much I hate the classical guitar.
Could you get any more bitchy?
I understand your comment and understand this criticism (actually, quite common regarding Fisk). I also understand that you probably (as all of us do) envision an ideal sound, ideal performance and when you see it, it´s wonderful.
Fisk is essentially an Dyonesian player, whereas Manuel is more of the Apollonian: one is pure emphasis, while the other is stately, understated. I think we need to adjust our ears to the different kinds of pathos each artist conveys: the "better than", "worst than" is just opinions, not actual analysis of what the performer´s trying to do. Fisk attempts these grandiose gestures, the flamboyant, the histrionic: Manuel is his opposite. Isn´t that great that the ice cream comes in different flavors? The more you can appreciate, the more you´ll like the variety of ice cream.
I enjoyed this very much. It was a very organic performance of the 12 as 1 whole piece. There is great musicality here: Eliot at times may not realize his own energy level and what´s being conveyed: he may not at times realize his performance is "yelling" or even "screaming" because there´s such a connection between him and the music (on an internal level), that he may not realize he´s twanging here, sounding harsh there. Yes, this is the Dyonesian: it´s almost as if he´s in a trance and oblivious to the impression he´s causing on other. I think that´s great: maybe not all the time, but here something has been said.
One gets that sense of overflowing energy here. This live (judging from the applause) would give us a totally different impression of what we´re seeing. But certainly, not anywhere near as precise as Barrueco´s or Fábio Zanon; the tempos are stretched to the outer limits, the dynamics exploding. IMO, the strings should have bust; the neck gone flying off and the whole soundboard imploded...
One could say sloppy (actually, look at Etude 2 - the least musically interesting and he hardly flubs - there´s no way for that total precision with this approach. He´s just putting too much energy into it: that may put off some people: there are mistakes, sure, but notice how many notes are played and how many are really atrocious mistakes? With the note-perfect player, the regularity may eventually come to bore you; here, I guarantee, no one was bored, despite the flubs here and there.
Sure: no silky tone of David Russell here, but there´s something here that I pick up and I enjoy it. A very human quality. Of a different sort of human quality in the performances of Russell or Barrueco. A different personality, and given the fact that so many people seemed cloned today, we should delight when personality, individuality appear: something that doesn´t belong to the herd or tribe.
There should be more attempt to understand what each performer is trying to do rather than just revealing our taste (we know what we like best, but that should not stop us from trying to understand why we don´t care for something else). Looking for the reasons for our interest, or lack thereof (I think that was Henry James´ - the novelist - definition of criticism). I´ve seen a lot of Fisk bashing (where there are angels, there will be trolls): that´s not your case, yours is a valid observation, but also a preference of taste.
There are many modes of being, all valid and revealing of the diversity of humankind. Fisk has something that I admire; so does Barrueco, so does Fábio Zanon, so does Narciso Yepes (another maligned player). But the fact that such a performance can generate such extremes of opinion means that (as Oscar WIlde would have it), that this art is alive and vital.
Thank you for your comment.
Best
Hello. It's understandable for a non guitarist to express hatred for the classical guitar. I used to hate it too, long time ago. But now it's my life. How is it possible? From my own experience i guarentee you that you actually have no idea what classical guitar is at all. Because you haven't heard the essential masters: Andres Segovia, Narciso Yepes and Julian Bream. These three showed me what the classical guitar is really all about: an extremely difficult instrument from a technical point of view which brings to the world the most wonderful musical sounds, if its played well, as they did.
I play the guitar and yes, it's a very treacherous and unstable instrument. But to be honest, once i heard those three masters i think it's a nonsense and impossible for me to try to play another instrument which is not the classical guitar. I reccomend you to listen to the old school, especially those three i mentioned. Those were the real guitarists for me.
I have some Segovia and Yepes in my channel, in my favourites and uploads. Listen to those and i guarentee you that you will never ever say that you hate the classical guitar, but actually the absolute opposite. hahah
Believe me, ignorance is a terrible thing. You are suffering from it. Listen to what i've told you and you will be cured. Start from this for example: /watch?v=9y2KTvSPwZY OR/AND /watch?v=b5jNPfa7x6Y
If you are a real music lover you will find your mecca there. LOL
"His guitar playing just irritates me so much I hate the classical guitar." Rather than detesting the instrument because you have the same opinion of Fisk that any knowledgeable listener has, may I suggest cruising RUclips for far-less-detestable videos of the second etude by players who actually play the notes instead of missing about half of them. I quickly turned up Xingye Li, Liying Zhu, Tal Hurwitz, Matt Palmer (who at least shows that he can play very fast and, unlike Fisk, actually play the notes), and of course, Bream.
He has an enviable technique that he uses abs.
Time and phrasing inaccuracies, cabbage accents, impressive reading errors, has not yet been realized, among the many errors that the study 7 in the final measures, VIF, does not start with two sixteenths as usual but with TRE.
Yet he plays the sentence like the previous ones and ends up out of time.
Unacceptable by a student, horrible by a professional.
And how many confectioners, certainly made in speed, but incomprehensible. Example beats 23 and 24 of study 1, are absolutely incomprehensible, the goliardic attempt to put in a couple of seconds all the notes, even if everything then becomes an incomprehensible chaos in the ascending part.
I don't like nothing.
Mark, prova a ragionare sugli argomenti, sulle affermazioni e sui clamorosi errori di Fisk, assolutamente inascoltabile, e non sulla grammatica e sulla sintassi. Tu sei come quello al quale indicando col dito una stella dicendo "guarda" , lui guarda il dito. Bravo furbo, parlare con te è uno spasso. Peccato che mentre scrivo in sottofondo Fisk fa un casino! Comunque Mark se non sai dove andate chiedi, e ti ci mando io.
gli errori sono evidenti. Sarebbe sufficiente saper leggere la musica, lo spartito, Vale per Fisk come per Mark
a lot of classical music on guitar is technically brilliant and takes years of dedication
but the reality of it is not pleasing to the ear
even when played by a mistro like mr fisk
give me f taregra eny day of the week
A) The compositions are pretty weak and uninteresting with a lot of silly repetitions, Give me Bach any day. B) the audio recording is too live and the mic possibly too far, sound is not very clear C) the playing lacks a good flow, is mishmash, rushed and filled with errors. Are the comments here by the Fisk's own various accounts to whip up sales for his concerts promoted on FB? This many people cannot be that out of it.
goodcyrus Says who ?
Many repetitions?? That must be the reason they are called Etudes... Got it??
Not the biggest Fisk fan, and I know this comment is 3 years old, but I have to correct you that the repetitions are not from Villa Lobos’s original manuscript. They are a change made by Segovia - one of many controversial ones.
Furious, out of breath, creaking with haste for the last train?
Maybe there is technology there, there certainly is, but why?
There is no music.
Lobos already has very difficult phrases that require intelligent interpretation, so a game like Fiska makes it very difficult.
I have no idea what this guitarist was talking about.
COMO ERRA ESSE CARA!!!!! POBRE VILLA