Je vis au Brésil, et toujours quand je m'approchais de ce genre de musique j'avais l'impression de ne jouer que les notes, et m'eloigner de la musique. Ici je retrouve la musique que je soupçonnais être cachée derriére les petites notes. Merci
These are some of the most captivating performances of Baroque Music I have ever heard. In my quite unfounded imagination, this seems to be close how the music must have sounded then. In spirit more, than the actual sound of the instruments. I hear deliberation, in a oriental way, which is pretty much missing in other recordings, even those who claim to include these influences.
Fascinating video! It's such a joy to be able to see these instruments compared the way you've done it. This video is a treasure! I can't thank you enough.
Théorbe : l'instrument le plus élégiaque que je connaisse, mon préféré pour l'époque baroque, découvert en 1993 pour les oeuvres de De Visée grâce à Pascal Monteilhet (1955-2022) , décédé l'été dernier et dont je n'apprends le décès qu'en cette fin décembre 2022 : magnifique interprétation, vita brevis, ars longa !
quand quelqu'un te fait comprendre un truc et tu touches à ce qui te semble être la vérité, simple et nue: ça s appelle l 'évidence. Vos interprétations sonnent en parfaite concordance avec la musique de Robert de Visée. quel bonheur ! merci pour le cadeau.J' attends la suite des vidéos, je suis fan! Guad.
Bravo! The Theorbo sounded magnificent. Very educational to hear the different versions and how the piece works on each. Bravo Encore. Bravo! Le Theorbo semblait magnifique. Très éducatif pour entendre les différentes versions et comment la pièce fonctionne sur chacun. Bravo Encore.
This video completes my article "Robert de Visée's corpus: a stylistic tutor", issued in Quarterly, journal of the Lute Society of America, fall 2012. The LSA article and the tablatures are available at the de Visée page of my website www.GerardRebours.com.
Gérard Rebours, I was looking for De Visée music here and I discover your so nice interpretations! Before going further on your site to see more of your works I thank you much.
Thank you so much sharing this video, I know nothing about the instruments, l am sorry for that, the only thing I know is the sounds are beautiful and l felt comfortable when l listening. Thank you so much!!!😄😄😄
Имея возможность слушать эту удивительную по красоте музыку, вступаешь в диалог с тем временем, когда звучание ее было привычным в те давние давние времена. Изысканные утонченные барышни, галантные кавалеры. Во всем была красота и гармония.😇🌿🕊️🌿💖🍀🌼🍀🌼🍀🌼🍀🌼🍀🌼🍀💖💫✨💖💫✨💫🌌💫✨🌌💫✨🌌🌏🌏🌍
votre jeu révèle une grande profondeur musicale et sonore, le phrasé est magnifique ! Quel talent ... Je n'ai pas oublié non plus les critiques que vous avez faites de mes disques de 1989 et 1991 "Double Face" et "Jazz Guitar Solo" révélant de mon point de vue une grande capacité à écouter la création musicale des autres comme un partage qui nous enrichit et nous élève. Bien à vous, Didier Large
Ce que tu fais tant au théorbe qu'à la guitare est magnifique. Je t'ai entendu il y a quelques années avec Patrick B. et quelques danseurs à Dijon. Un régal. :) Merci !
Merci beaucoup Olivier, I am glad you enjoyed these tracks. Dijon est un bon souvenir: très joli lieu, et belle acoustique de plein air. Je ne sais plus comment j'ai eu la vidéo: si c'est par toi, alors merci! Amitiés, GR
Excellent. Think that studying De Visée on my classic guitar, many years ago, I understood that to obtain the right texture and sound effects I had to buy a baroque guitar. That was before 1984! I have been the first in Italy to have a baroque guitar, properly tuned and strung. I am very fond of De Visée too. Congratulations for your article and studies.
Thank you very much, Luca. Personally, I was not fond of early music on the 6-string guitar, but when I heard early instruments - in the mid 70's - my point of view changed utterly!
Robert de Visée mérite d'être mieux connu car ses oeuvres pour le luth et le théorbe révèlent des sonorités merveilleuses dans un registre plus rare pour des instruments solistes, le bas médium et la basse. Tant au théorbe qu'au clavecin lorsqu'on a le plaisir de transcrire certaines pièces, on découvre une sérénité absolue . Pour ma part, j'adore. Robert de Visée était maître de guitare à la Cour et occupait sa charge auprès de louis XIV pour lequel il jouait régulièrement. Visiblement, il était reconnu par ses pairs ainsi que par les clavecinistes de son temps. La dédicace de son "Livre de guittarre" nous éclaire sur son ouvrage à la Cour du roi dont voici des extraits : Il fait par exemple mention d' "un petit recueil de pieces de Guittare, que j'ay composées, et qui ont eû le bonheur de ne vous pas déplaire" "Elles ont eû plusieurs fois la gloire d'Amuser V.M. dans les heures de ce precieux loisir. Je l'ay veüe moimesme ne pas dédaigner quelque fois l'Exercice de nostre Art, et toucher la Guittare." "V.M. m'a déjà comblé de ses graces, par le chois qu'elle a fait de moy pour divertir quelquefois Monseigneur le Dauphin." "L'honneur que j'ay eû d'aprocher du plus grand Monarque de l'Univers et du plus fameux des Conquerants". Il précise aussi entre autres son bonheur de divertir le roi en écrivant : "trop heureux si je pouvois pour tout fruict de mes veilles, divertir Votre Majesté". Son oeuvre est aujourd'hui intemporelle et demeure belle à nos oreilles et à notre âme.
Only the cognoscenti would know from the sound in this video. The playing is sensitive, beautiful, expressive. Any human listening to this has to bite their lip to avoid tears....
The music of Faso is an inexhaustible source of sweetness. It allows us to plunge deep inside ourselves and at the same time resonate with our fellow man, Yé Lassina Coulibaly
au delà des excellentes interprétations, une approche vraiment intéressante qui permet de mieux mesurer les possibilités parfois diverses parfois semblables des instruments. j'aime particulièrement l'interprétation de Gérard à la guitare baroque avec une combinaison magique main droite, main gauche. beyond excellent interpretations, the video gives a good flavor of the capacity of the different instruments, A special applause to Gerard for the barock guitar version.
It saddens me to realize these Musicians and others like them are not considered "celebrities" in our societies. Maybe it's related to the pensive nature of the composition itself, but nevertheless, I want these Musicians to be more celebrated. Don't you?
grosbeak - the bank manager may disagree with your reasoning! But seriously - what would be so sad about this music being acceptable - I mean it was hundred's of years ago?
As the 19th and 20th century went on, the people making the music devolved from the Courts of Europe to the workers particularly in the US. African ideas of rythm combined with melodies from Europe. Dancing took center stage. All of this was tinged with counterculture against the old world and its screwy monarchies, and the institutions who without delay called ragtime, jazz, swing, and rock and roll "jungle music" in reference to the black influence. This let the youngsters know they were pitted against the staid, old school, institutions. I'm sure a lot of people can fill in the other blanks regarding the influence of machines, resistance to orthodox religion, a growing middle class that vastly spread instruments and recorded music. Basically "the kids took over". City budgets still carry the expense of symphonies - highly trained people playing expensive, even rare instruments in specialized and expensive buildings, and nobody dancing. We have the ruling class and the working class still battling over culture. By the 1920's the working class had begun to win this battle over musical culture, but not at all decisively. Music has no class except whatever associations we attach to it, but those associations are firmly attached for now. All Power to the People! Then music will be free of nasty associations.
Bravo à tous les trois, c est magnifi-quement émouvant : cette musique mais aussi vos interprétations ...( je découvre B.J Steens admirable lui AUSSI).Car, outre la virtuosité (!) , je suis scotchée par tant de profondeur et d émotion
You might be interested to know that Toyohoko Satoh's baroque lute method contains an arrangement of this prelude for 13c lute and the arrangement is very different from M. Antonini's version. I would say that her version sounds more like of De Visee' period lute pieces in France and Mr. Toyohiko Satoh explores all the range of the later 13 c lute involving basses actively
Yes indeed, Benjamin is an expert at harpsichord tuning, and I regret the same precision cannot be achieved with fretted instruments (which are "imperfect instruments", as Jean Denis called them in his 1640 Treatise.)
@@GerardRebours That makes sense, no matter what the research and practise, a non-keyboardist would naturally bend things towards our "modern", pure intervals. Since I play a mostly-romantic era orchestral instrument (trombone) we tune everything "pure". And I end up doing the same on sackbut, the few times I get to play it. But when I hear alternate tunings as here, I really appreciate them!
I recorded the piece with a cheap baroque guitar originally made by Sanchis Carpio, that Charles Besnainou made much better by modifying the soundboard in 1985. As it is not a very elegant instrument, I used for the video a beautiful brand new but quite dull guitar, made by xxx-xxx, that I will never use for recording or performing. Good sounding versus good looking...
Hi Gerard😀 Nous nous sommes croisé à l école normale en son temps. J étais l instigateur avec Sanchis de la construction de la première guitare baroque « en serie » - 200 instruments construits pour un prix dérisoire afin de permettre une découverte de cet instrument... Sans doute un peu en avance pour l’époque. plusieurs guitares de cette série circulent encore...enjoy ! 😀
Hi Bernard, désolé de découvrir ton message après deux ans, au moins! J'ai une Sanchis Carpio retravaillée par un luthier, que je joue depuis 35 ans environ! Donc, ce fut une bonne initiative, mais elles avaient souvent besoin d'une révision. Les chevilles en plastique, par exemple, se ramollissaient par temps chaud! Tu peux me contacter via mon site, et je te dirai un secret! Amitiés, GR @@Nowhere.terminal
Lovely playing! Those French ornaments are absolutely delicious. Could I ask what microphones were used on the theorbo and baroque guitar, and where they were placed? The recording is excellent.
+Paul Baker I used a couple of 25-years old AKG C451E, using the preamps of a Mackie Onyx 1620i mixing board. The mikes were about 20cm apart, and at 80 cm from the instruments. We plaid in a very common 14m2 apartment working room. The sound of the harpsichord was recorded along with the video, using a Canon G13 camera, and elsewhere. A touch of equalization and reverberation were added afterwards, with basic plugins. So, nothing very impressive - but may be some good luck!
+Gérard REBOURS Thanks! That's very useful. I'm amazed that the C451s produce such richness from the bass strings of the theorbo. I must reinvestigate them.
+Gérard REBOURS Thanks. I'll look it up. I think the 451 has interchangeable capsules, but I'll make a note that the cardioid capsule sounds wonderful on theorbos. :-)
Msr. Gerard, I am assuming you are the performer in the first offering and also in the third? I love your style and intensity. You truly do justice to this beautiful music and any instrument you hold.
One of the five original theorbo tablatures can be found via this link, p.256: culture.besancon.fr/ark:/48565/a011284026247S0XA9H/1/1 The transcription on stave, and the tablatures for Baroque Lute and Baroque Guitar are available at the de Visée page of my website @t., article "Robert de Visée's corpus: a stylistic tutor". As to the recordings, there are probably some.
+Matthew Hayes In my article, I included the lute and baroque guitar arrangements that we made and performed, and I did not include the theorbo tablature because there are already five theorbo original manuscript sources for this prelude. I did not play any one in particular, and some details are just mine. But you can find at least one version on-line, in the Besançon "Vaudry de Saizenay" manuscript, p. 256. Here is the link: culture.besancon.fr/ark:/48565/a011284026247S0XA9H/1/1 I hope this helps.
This video completes my article "Robert de Visée's corpus: a stylistic tutor", issued in Quarterly, journal of the Lute Society of America, fall 2012. The LSA article and the tablatures are available at the de Visée page of my website www.GerardRebours.com.
Who can help? Of what suite is this prelude? And I cannot find the tabs on his articles. The sheet there is not to be the piece played on baroue guitar in the vid....
Bonjour; le claveciniste a joué directement à partir de la transcription sur portée de la tablature de théorbe, que vous trouverez à la page Articles, (fin de l'article 24) de mon site www.GerardRebours.com Bien cordialement, GR
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Grandissimi musicisti è un onore avervi ascoltato . Grandi maestri.
Superbe musique et interprétation de haut niveau. Coup de cœur pour la version au théorbe.
Brilliant idea! And so beautifully performed by all artists. Thank you.
Per-Olov
Je vis au Brésil, et toujours quand je m'approchais de ce genre de musique j'avais l'impression de ne jouer que les notes, et m'eloigner de la musique. Ici je retrouve la musique que je soupçonnais être cachée derriére les petites notes. Merci
The theorbo stood out for me.
Such a magnificent instrument.
These are some of the most captivating performances of Baroque Music I have ever heard. In my quite unfounded imagination, this seems to be close how the music must have sounded then. In spirit more, than the actual sound of the instruments. I hear deliberation, in a oriental way, which is pretty much missing in other recordings, even those who claim to include these influences.
Thanks a lot, Lorenzo, for this very deep commentary that is a proof of your precise musical feeling and true stylistic knowledge. All the best, GR
J'adore le luth et le theorbe, je ne me lasse pas d'en écouter, salutations de Montréal Qc :-)
Fascinating video! It's such a joy to be able to see these instruments compared the way you've done it. This video is a treasure! I can't thank you enough.
Thanks a lot, I am glad that you enjoyed this work. Best, G. Rebours
Thanks a lot, Bizhan. I am glad you enjoyed this music.
Nothing can sooth my senses better than the sound of such wonderful music played with such perfection. Thank you for uploading.
It is very delightful to see all You play these marvelous music and instruments. Congratulations and thank You for sharing.
Théorbe : l'instrument le plus élégiaque que je connaisse, mon préféré pour l'époque baroque, découvert en 1993 pour les oeuvres de De Visée grâce à Pascal Monteilhet (1955-2022) , décédé l'été dernier et dont je n'apprends le décès qu'en cette fin décembre 2022 : magnifique interprétation, vita brevis, ars longa !
de Visee is a magnificent composer! Much respect for the musicians! Superb!
Sehr interessantes Video, alle 4 Versionen sind hervorragend gespielt und klingen exzellent auf dem jeweiligen Instrument. Vielen Dank.
terrific artistry by all performers ! thank you !
quand quelqu'un te fait comprendre un truc et tu touches à ce qui te semble être la vérité, simple et nue: ça s appelle l 'évidence. Vos interprétations sonnent en parfaite concordance avec la musique de Robert de Visée. quel bonheur ! merci pour le cadeau.J' attends la suite des vidéos, je suis fan! Guad.
Bravo! The Theorbo sounded magnificent. Very educational to hear the different versions and how the piece works on each. Bravo Encore.
Bravo! Le Theorbo semblait magnifique. Très éducatif pour entendre les différentes versions et comment la pièce fonctionne sur chacun. Bravo Encore.
Many thanks for this posting. Very beautiful and inspired playing !
This video completes my article "Robert de Visée's corpus: a stylistic tutor", issued in Quarterly, journal of the Lute Society of America, fall 2012. The LSA article and the tablatures are available at the de Visée page of my website www.GerardRebours.com.
Gérard Rebours, I was looking for De Visée music here and I discover your so nice interpretations! Before going further on your site to see more of your works I thank you much.
Thank you so much sharing this video, I know nothing about the instruments, l am sorry for that, the only thing I know is the sounds are beautiful and l felt comfortable when l listening. Thank you so much!!!😄😄😄
Merci ! Très haut niveau technique et magnifique inspiration Je fais cette musique depuis 40 ans!
4 versions of beauty to the soul!🎸🙏
Merveilleuse idée ,interprétations et bien évidemment splendide musique!!!
bravo pour ces belles mises en valeur emplies de justesse
Имея возможность слушать эту удивительную по красоте музыку, вступаешь в диалог с тем временем, когда звучание ее было привычным в те давние давние времена. Изысканные утонченные барышни, галантные кавалеры. Во всем была красота и гармония.😇🌿🕊️🌿💖🍀🌼🍀🌼🍀🌼🍀🌼🍀🌼🍀💖💫✨💖💫✨💫🌌💫✨🌌💫✨🌌🌏🌏🌍
You are right. Thank you for your comment.
Tanto las versiones como la grabación de sonido son excelentes. ¡Enhorabuena!
Sólo puedo estar de acuerdo con eso;)
Dank om deze prachtige muziek met ons te delen 🙏
I am glad you enjoyed it. Thanks for listening. GR
Bravo! The best Universum of music! BRAVO
Fabulous dear people and very well done!!🙏🙏
Thanks a lot, I am glad you appreciated. GR
votre jeu révèle une grande profondeur musicale et sonore, le phrasé est magnifique ! Quel talent ...
Je n'ai pas oublié non plus les critiques que vous avez faites de mes disques de 1989 et 1991 "Double Face" et "Jazz Guitar Solo" révélant de mon point de vue une grande capacité à écouter la création musicale des autres comme un partage qui nous enrichit et nous élève.
Bien à vous, Didier Large
Merci Didier, et au plaisir de se revoir. Depuis le temps…
Très intéressantes versions de ce compositeur que je considère comme le plus abouti de sa génération. Bravo ! Amitiés Jean-Jacques
Ce que tu fais tant au théorbe qu'à la guitare est magnifique. Je t'ai entendu il y a quelques années avec Patrick B. et quelques danseurs à Dijon. Un régal. :) Merci !
Merci beaucoup Olivier, I am glad you enjoyed these tracks. Dijon est un bon souvenir: très joli lieu, et belle acoustique de plein air. Je ne sais plus comment j'ai eu la vidéo: si c'est par toi, alors merci! Amitiés, GR
@@GerardRebours Patrick me l'avait demandée car Christine la voulait. 😉
@@olivierfaux4139 Tout est clair!
@@GerardRebours Pascal s'en est allé. L'occasion de réécouter ce Prélude sous tes doigts en pensant très fort à lui. 🥺
@@olivierfaux4139 Ah, triste nouvelle... Dommage d'entendre à nouveau parler de lui que pour annoncer sa disparition.
Really beautiful playing across all of the instruments. Thank you!
Excellent. Think that studying De Visée on my classic guitar, many years ago, I understood that to obtain the right texture and sound effects I had to buy a baroque guitar. That was before 1984! I have been the first in Italy to have a baroque guitar, properly tuned and strung. I am very fond of De Visée too. Congratulations for your article and studies.
Thank you very much, Luca. Personally, I was not fond of early music on the 6-string guitar, but when I heard early instruments - in the mid 70's - my point of view changed utterly!
Lovely playing, much enjoyed all the versions.
Robert de Visée mérite d'être mieux connu car ses oeuvres pour le luth et le théorbe révèlent des sonorités merveilleuses dans un registre plus rare pour des instruments solistes, le bas médium et la basse. Tant au théorbe qu'au clavecin lorsqu'on a le plaisir de transcrire certaines pièces, on découvre une sérénité absolue . Pour ma part, j'adore.
Robert de Visée était maître de guitare à la Cour et occupait sa charge auprès de louis XIV pour lequel il jouait régulièrement. Visiblement, il était reconnu par ses pairs ainsi que par les clavecinistes de son temps.
La dédicace de son "Livre de guittarre" nous éclaire sur son ouvrage à la Cour du roi dont voici des extraits : Il fait par exemple mention d' "un petit recueil de pieces de Guittare, que j'ay composées, et qui ont eû le bonheur de ne vous pas déplaire"
"Elles ont eû plusieurs fois la gloire d'Amuser V.M. dans les heures de ce precieux loisir. Je l'ay veüe moimesme ne pas dédaigner quelque fois l'Exercice de nostre Art, et toucher la Guittare."
"V.M. m'a déjà comblé de ses graces, par le chois qu'elle a fait de moy pour divertir quelquefois Monseigneur le Dauphin."
"L'honneur que j'ay eû d'aprocher du plus grand Monarque de l'Univers et du plus fameux des Conquerants".
Il précise aussi entre autres son bonheur de divertir le roi en écrivant : "trop heureux si je pouvois pour tout fruict de mes veilles, divertir Votre Majesté".
Son oeuvre est aujourd'hui intemporelle et demeure belle à nos oreilles et à notre âme.
I feel privileged to be able to play his on classical guitar. We live in a convenient time and it certainly has its benefits.
Very nice. The camera work also.
Gracias por este video. Muy bien logradas todas las versiones.
The second performer is incredible! Look at the way she feels the music in the second portion of her performance. Supremely sublime!
Great to listen to the different versions one after each other.
And the performances are great! Among my favourite performances of De Visée so far
Only the cognoscenti would know from the sound in this video. The playing is sensitive, beautiful, expressive. Any human listening to this has to bite their lip to avoid tears....
It's fantastic interpretation, Gérard! Congratulation! :)
Thank you, a very fascinating video. I've been back several times already...
That's absolutely phantastic. Amazing! Bravo!!!! I love it :-)
Thanks a lot, Tilman. I am greatly honored by your comment. All the best, GR
The music of Faso is an inexhaustible source of sweetness.
It allows us to plunge deep inside ourselves and at the same time resonate with our fellow man, Yé Lassina Coulibaly
superbe versions au théorbe et à la guitare de Gérard Rebours, phrasé, expression, poésie...
This is beautiful and magnificent!
au delà des excellentes interprétations, une approche vraiment intéressante qui permet de mieux mesurer les possibilités parfois diverses parfois semblables des instruments.
j'aime particulièrement l'interprétation de Gérard à la guitare baroque avec une combinaison magique main droite, main gauche.
beyond excellent interpretations, the video gives a good flavor of the capacity of the different instruments,
A special applause to Gerard for the barock guitar version.
Magnifique Gérard ! J'ignorais que tu jouasses du théorbe. J'aime beaucoup ton tempo et la très belle aération rythmique qu'il autorise. Amitiés !
Merci de ta visite, et de ton appréciation, cher Guillaume. Oui, le théorbe aussi maintenant: mieux vaut tard que jamais! Amitiés, GR.
Musique et interprétacion merveilleuse, salutations de Budapest, Hongrie
Merci beaucoup, et...salutations from Paris!
Wonderful, thanks much!
heavenly- thank you!
Boy, Theorbo and Lutes are crazy looking instruments. Beautiful but wild looking.
the most beautiful music i've ever heard.
It saddens me to realize these Musicians and others like them are not considered "celebrities" in our societies. Maybe it's related to the pensive nature of the composition itself, but nevertheless, I want these Musicians to be more celebrated. Don't you?
No because becoming a celebrity and having all kinds of popularity makes the music too acceptable and fashionable.
grosbeak - the bank manager may disagree with your reasoning! But seriously - what would be so sad about this music being acceptable - I mean it was hundred's of years ago?
As the 19th and 20th century went on, the people making the music devolved from the Courts of Europe to the workers particularly in the US. African ideas of rythm combined with melodies from Europe. Dancing took center stage. All of this was tinged with counterculture against the old world and its screwy monarchies, and the institutions who without delay called ragtime, jazz, swing, and rock and roll "jungle music" in reference to the black influence. This let the youngsters know they were pitted against the staid, old school, institutions.
I'm sure a lot of people can fill in the other blanks regarding the influence of machines, resistance to orthodox religion, a growing middle class that vastly spread instruments and recorded music.
Basically "the kids took over".
City budgets still carry the expense of symphonies - highly trained people playing expensive, even rare instruments in specialized and expensive buildings, and nobody dancing.
We have the ruling class and the working class still battling over culture. By the 1920's the working class had begun to win this battle over musical culture, but not at all decisively.
Music has no class except whatever associations we attach to it, but those associations are firmly attached for now.
All Power to the People! Then music will be free of nasty associations.
It's sad indeed, yet the art is very much alive. We must go to Culture and not the otherway round. That's an encouraging thought
saddens poor choice my friend I like renaissance lute music
Bravo à tous les trois, c est magnifi-quement émouvant : cette musique mais aussi vos interprétations ...( je découvre B.J Steens admirable lui AUSSI).Car, outre la virtuosité (!) , je suis scotchée par tant de profondeur et d émotion
Superbe vidéo...
Merci Gérard !
Beautiful playing
For this particular piece, the teorbo transmitted its beauty in a more profound sense
Bonjour Mr Rebours. J'espère que vous allez bien. Nady
You might be interested to know that Toyohoko Satoh's baroque lute method contains an arrangement of this prelude for 13c lute and the arrangement is very different from M. Antonini's version. I would say that her version sounds more like of De Visee' period lute pieces in France and Mr. Toyohiko Satoh explores all the range of the later 13 c lute involving basses actively
Amazing! Thank you!👍❤️
Like, great video edition. Done , you have a new supporter. Thank you
Grande.... Grazie 🌹 🌹 🌹 🌹 👏👏👏👏👏
Love the tuning on the harpsichord!
Yes indeed, Benjamin is an expert at harpsichord tuning, and I regret the same precision cannot be achieved with fretted instruments (which are "imperfect instruments", as Jean Denis called them in his 1640 Treatise.)
@@GerardRebours That makes sense, no matter what the research and practise, a non-keyboardist would naturally bend things towards our "modern", pure intervals. Since I play a mostly-romantic era orchestral instrument (trombone) we tune everything "pure". And I end up doing the same on sackbut, the few times I get to play it. But when I hear alternate tunings as here, I really appreciate them!
Une fort belle leçon!
Very strong tone!
beautiful
Trop beau!
Très beau !
I need a theorbo but it's so daunting to find one I can try or hear on audio
So, I wasn't watching the video, only listening and then I thought, wow this guitar really sounds like a harpsichord...
I recorded the piece with a cheap baroque guitar originally made by Sanchis Carpio, that Charles Besnainou made much better by modifying the soundboard in 1985. As it is not a very elegant instrument, I used for the video a beautiful brand new but quite dull guitar, made by xxx-xxx, that I will never use for recording or performing. Good sounding versus good looking...
I like your attention to aestethics :)
On a side note, where could I find the sheet music for this beautiful piece ?
The good sound comes from the musician. It is how you imagine time.
Hi Gerard😀
Nous nous sommes croisé à l école normale en son temps.
J étais l instigateur avec Sanchis de la construction de la première guitare baroque « en serie » - 200 instruments construits pour un prix dérisoire afin de permettre une découverte de cet instrument...
Sans doute un peu en avance pour l’époque. plusieurs guitares de cette série circulent encore...enjoy ! 😀
Hi Bernard, désolé de découvrir ton message après deux ans, au moins! J'ai une Sanchis Carpio retravaillée par un luthier, que je joue depuis 35 ans environ! Donc, ce fut une bonne initiative, mais elles avaient souvent besoin d'une révision. Les chevilles en plastique, par exemple, se ramollissaient par temps chaud! Tu peux me contacter via mon site, et je te dirai un secret! Amitiés, GR @@Nowhere.terminal
@@GerardRebours 👍bien recu
Lovely playing! Those French ornaments are absolutely delicious.
Could I ask what microphones were used on the theorbo and baroque guitar, and where they were placed? The recording is excellent.
+Paul Baker
I used a couple of 25-years old AKG C451E, using the preamps of a Mackie Onyx 1620i mixing board. The mikes were about 20cm apart, and at 80 cm from the instruments. We plaid in a very common 14m2 apartment working room. The sound of the harpsichord was recorded along with the video, using a Canon G13 camera, and elsewhere. A touch of equalization and reverberation were added afterwards, with basic plugins. So, nothing very impressive - but may be some good luck!
+Gérard REBOURS Thanks! That's very useful. I'm amazed that the C451s produce such richness from the bass strings of the theorbo. I must reinvestigate them.
Paul Baker
It is more exactly the C451E model (cardioid).
+Gérard REBOURS Thanks. I'll look it up. I think the 451 has interchangeable capsules, but I'll make a note that the cardioid capsule sounds wonderful on theorbos. :-)
I bought a pair of new ones, a few years ago, but they were very different than my old ones, and I did not keep it.
Excellent video
Que melodia linda!!!
Nice renditions
Belle(s) proposition(s), merci.
phantastic!! thank you
Finely played by all.
Really impressive!
Msr. Gerard, I am assuming you are the performer in the first offering and also in the third? I love your style and intensity. You truly do justice to this beautiful music and any instrument you hold.
Thanks a lot, Maureen. I am very pleased that you appreciate my rendering of this great music.
Outstanding.
I'm unfamiliar with this piece by De Visee, does anyone know if there are any recordings or tabs available?
One of the five original theorbo tablatures can be found via this link, p.256: culture.besancon.fr/ark:/48565/a011284026247S0XA9H/1/1
The transcription on stave, and the tablatures for Baroque Lute and Baroque Guitar are available at the de Visée page of my website @t., article "Robert de Visée's corpus: a stylistic tutor". As to the recordings, there are probably some.
WOW!! AWESOME!!
AWESOME!!! Thanks!
Outstanding
grâce et beauté
très belle pièce...
Who built this harpsichord? I love the sound of it.
The audio recording quality is lower than the preceding instruments, unfortunately. And unfortunately too, I do not know who built this one.
Wonderfull!
Excellent.
I am looking for the theorbo tablature for the theorbo version of this piece. Anyone have it?
+Matthew Hayes
In my article, I included the lute and baroque guitar arrangements that we made and performed, and I did not include the theorbo tablature because there are already five theorbo original manuscript sources for this prelude. I did not play any one in particular, and some details are just mine. But you can find at least one version on-line, in the Besançon "Vaudry de Saizenay" manuscript, p. 256. Here is the link: culture.besancon.fr/ark:/48565/a011284026247S0XA9H/1/1
I hope this helps.
fantastic recording! is this piece from the Vaudry de Saizenay manuscrit available somewhere in tablature for baroque lute in Dminor tuning?
This video completes my article "Robert de Visée's corpus: a stylistic tutor", issued in Quarterly, journal of the Lute Society of America, fall 2012. The LSA article and the tablatures are available at the de Visée page of my website www.GerardRebours.com.
Who can help? Of what suite is this prelude? And I cannot find the tabs on his articles. The sheet there is not to be the piece played on baroue guitar in the vid....
Hello. I think that if you go to my website gerardrebours.com , page Articles, item 24, you will find the answers (tabs and sources).
Bel video!
Wow! Great!
That first performer looks like a renaissance painting come to life.
In fact he looks exactly like Charles the Bold duke of Burgundy who lived in the 14th century. Look at a portrait of him ...stunning !
15th century...my bad.
Mi preferida la 3.
Bonjour, très intéressante vidéo ! Est-il possible de se procurer la transcription pour clavecin que je trouve très réussie ? merci
Bonjour; le claveciniste a joué directement à partir de la transcription sur portée de la tablature de théorbe, que vous trouverez à la page Articles, (fin de l'article 24) de mon site www.GerardRebours.com
Bien cordialement, GR
Musica angelica... Gratias ago... Tota anima mea...
excelente!