A truly valuable contribution to RUclips - a modern master playing one of the greatest masterpieces of all time in a lovely setting. Thank you Marcin and Siccas.
Man he nails this, I think his interpretation is spot on and if anything is better than the classic Bream recording/interpretation. I think the negative nancys who have left berating comments are just old-school or something
What !! ? No standing ovation ?? !!! ..I did, in my mind, while sitting at this laptop. If I wern't in a public cafe' this very minute where it's no longer acceptable to sing and/ or dance without looking like a weirdo, deviate, neurotic (well, that much I'll give ya), dangerous, sick, loser to everyone, I do and always will give Marcin Dylla a standing ovation whether in my mind or in concert. Mr. Dylla's uncanny ability to control 1, 2, 3, or 4 moving, interacting voices, almost as if each becomes a different instrument or vocalist in the score, I'll dare say, no one else, so far as I can tell, in the classical guitar world, short of Segovia, Bream, Vidovic, and some 5-10 more, exudes as much attention to balance of these elements, as much as Marcin..The names in this post are not meant as conclusive. I say them simply as examples of the high-caliber contemporary players we DO have now. Marcin just seems to be turning out to be the grand master of accuracy and dynamics..But I DO love many many other guitarists...M
A fantastic performance of this devilishly difficult piece. He finds so many different colors and textures in this than for instance Bream did--Bream's was a much more polite interpretation!
Superb (even if the instrument is slightly out of tune), but a valid comparison with Bream would require the latter to play in the same resonant acoustic (or have the same amount of 'reverb' in the recording chain?), with similar 'gain' applied.
I always have thought that the best feature of Dylla´s interpretation is not his technique, which does not have any problems by the way, but the intelligence and conception of the piece. This is a very unusual but convincing version.
I gotta throw out this question here since I couldn't get a proper answer on the actual video. does anyone know how to get the Julian Bream performance of Dionisio aguado's Rondo Op.2? (the one WITHOUT the voiceover) I found the one with the voiceover on Guitarra! but the voiceover is UGH!
This version is a bit weaker than his own version from Katovice. Of course his technique, great sound and relaxed playing all add up be rather impressive. But his interpretation leaves a lot to desired. For example the first variation is all about phrasing, but I can only hear a row of nice notes. His means of interpretation do not support the connection between melodic parts. The second variation is to be played fast but his tempo is so wavering. It gives the impressions of arbitrary ritardandi/ accelerandos and thus loses all of its energy. In the third variation he clearly doesnt play 3 against 4 rhythm correctly. But the main problem is really the connection between all these parts. It is by nature really not possible to prove my point. But you can decide for yourself. Listen to Bream, his LP version or the passacaglia played live on youtube, Paul Galbraith or Yamashita. And maybe you will understand that this masterpiece is more expressive, provocative and hairraisingly beautiful than any other piece in the classical guitar repertoire. Julian Bream said once that the responsibility to do justice to this masterwork was almost overwhelming him. His respect for Brittens work is undeniable. I doubt that M.Dylla could claim this as well.
Lighten up. No performance is perfect, and clearly you can't please everyone. Bream was Bream. This performance is sensitive, deeply felt and technically flawless. Don't make assumptions about his 'respect' for the music. The commitment involved to even learn this piece wouldn't be possible without respect.
I love some of Marcin's playing but he seems to be trying to make this into something it is not. It was based on music by Dowland but also in Brittens mind was Julian Breams playing of Homenaje a Debussy which spurred him to right a guitar piece although he seemed more interest in the Lute but the Homenaje influence can be heard if you know this. I have never really liked the piece although I have tried to I understand what was meant but it sound to dry on the guitar.
I don't worry about understanding music that cannot be understood. No one stands at the end because they are not moved to stand; the piece does not grab the heart and does not uplift the spirit. People will listen as others listen. They will applaud as others applaud. But the emperor has no clothes.
![Marcin Dylla - Five Preludes by Heitor Villa Lobos [ACG Benefit Concert]](http://i.ytimg.com/vi/2x0cxSoTYBU/mqdefault.jpg)
A truly valuable contribution to RUclips - a modern master playing one of the greatest masterpieces of all time in a lovely setting. Thank you Marcin and Siccas.
Performance as always excellent. Bravo! Marcin ( :
Marvin, you are a true marvel of technique and musicality without a doubt. But this Nocturne for many is Segovia would say, for the most part
Yes! I've been waiting to hear him play this!
Brilliant. Thanks for sharing your heavenly art.
Loved your performance.
Amazing version. The Torre´s guitar sound is sweet and diaphanous. Marcin is a outstanding performer, all in him is musicality and perfection.
He played this same piece on this same guitar last night for a recital in Salt Lake City UT. Fantastic performance.
Marcin is phenomenal as always!
A true rock star of the classical guitar!
Simply a master.
Man he nails this, I think his interpretation is spot on and if anything is better than the classic Bream recording/interpretation. I think the negative nancys who have left berating comments are just old-school or something
Marcin you are the best!! 😍 😍 😍
Awesome
very complex music, amazing performance
Thank you !
brilliant!
What !! ? No standing ovation ?? !!! ..I did, in my mind, while sitting at this laptop. If I wern't in a public cafe' this very minute where it's no longer acceptable to sing and/ or dance without looking like a weirdo, deviate, neurotic (well, that much I'll give ya), dangerous, sick, loser to everyone, I do and always will give Marcin Dylla a standing ovation whether in my mind or in concert. Mr. Dylla's uncanny ability to control 1, 2, 3, or 4 moving, interacting voices, almost as if each becomes a different instrument or vocalist in the score, I'll dare say, no one else, so far as I can tell, in the classical guitar world, short of Segovia, Bream, Vidovic, and some 5-10 more, exudes as much attention to balance of these elements, as much as Marcin..The names in this post are not meant as conclusive. I say them simply as examples of the high-caliber contemporary players we DO have now. Marcin just seems to be turning out to be the grand master of accuracy and dynamics..But I DO love many many other guitarists...M
Браво
Marcin is a BADASS!
A REAL MAESTROOOOO..!
wow!
Does anybody knows about this guitar?
Philip Woodfield
+Christopher Rispoli thank you só Christopher!
James Lister (luthier UK) ?
Hi, this is a traditional Torres model copy made by Gabriele Lodi.
Danke
A fantastic performance of this devilishly difficult piece. He finds so many different colors and textures in this than for instance Bream did--Bream's was a much more polite interpretation!
Superb (even if the instrument is slightly out of tune), but a valid comparison with Bream would require the latter to play in the same resonant acoustic (or have the same amount of 'reverb' in the recording chain?), with similar 'gain' applied.
I always have thought that the best feature of Dylla´s interpretation is not his technique, which does not have any problems by the way, but the intelligence and conception of the piece. This is a very unusual but convincing version.
I gotta throw out this question here since I couldn't get a proper answer on the actual video. does anyone know how to get the Julian Bream performance of Dionisio aguado's Rondo Op.2? (the one WITHOUT the voiceover) I found the one with the voiceover on Guitarra! but the voiceover is UGH!
This version is a bit weaker than his own version from Katovice. Of course his technique, great sound and relaxed playing all add up be rather impressive. But his interpretation leaves a lot to desired. For example the first variation is all about phrasing, but I can only hear a row of nice notes. His means of interpretation do not support the connection between melodic parts. The second variation is to be played fast but his tempo is so wavering. It gives the impressions of arbitrary ritardandi/ accelerandos and thus loses all of its energy. In the third variation he clearly doesnt play 3 against 4 rhythm correctly.
But the main problem is really the connection between all these parts. It is by nature really not possible to prove my point. But you can decide for yourself. Listen to Bream, his LP version or the passacaglia played live on youtube, Paul Galbraith or Yamashita. And maybe you will understand that this masterpiece is more expressive, provocative and hairraisingly beautiful than any other piece in the classical guitar repertoire.
Julian Bream said once that the responsibility to do justice to this masterwork was almost overwhelming him. His respect for Brittens work is undeniable. I doubt that M.Dylla could claim this as well.
Lighten up. No performance is perfect, and clearly you can't please everyone. Bream was Bream. This performance is sensitive, deeply felt and technically flawless. Don't make assumptions about his 'respect' for the music. The commitment involved to even learn this piece wouldn't be possible without respect.
Elisa Bou thank you Elisa!
I love some of Marcin's playing but he seems to be trying to make this into something it is not. It was based on music by Dowland but also in Brittens mind was Julian Breams playing of Homenaje a Debussy which spurred him to right a guitar piece although he seemed more interest in the Lute but the Homenaje influence can be heard if you know this. I have never really liked the piece although I have tried to I understand what was meant but it sound to dry on the guitar.
I don't worry about understanding music that cannot be understood. No one stands at the end because they are not moved to stand; the piece does not grab the heart and does not uplift the spirit. People will listen as others listen. They will applaud as others applaud. But the emperor has no clothes.
Mediocre interpretazione