Rumores de la Caleta by Albeniz

Classical Guitar technique: studies, scales, arpeggios, theory
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Re: Rumores de la Caleta by Albeniz

Post by Mr.Rain » Tue Jun 25, 2019 9:14 am

My favourite is Lieske's version, when I learnt Rumores I had a lot of issues making it "my own" .
I heard all the versions I could find in youtuve, Scott Tennant version was one of the reasons why I got frustrated (he is a beast)

I thought the rasgueado an was integral part of it (ala Pepe Romero),then I realized that this was not necessary/not the closest thing to a melancholic piano piece, and then took it into another direction (then is when Wulfin's version gave it another spin...)

robert e
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Re: Rumores de la Caleta by Albeniz

Post by robert e » Mon Jul 01, 2019 5:43 pm

Mark Clifton-Gaultier wrote:
Sun Jun 16, 2019 1:03 pm
mike.janel wrote:Nothing the composer that passed away 110 years ago had to say can prevent performers from making the guitar scream.
No - and that's fine - we can choose to play anything just the way we please. My question was more about the (seeming) omnipresence of the more strident presentation.
mike.janel wrote:We can call this evolution if you want.
Ha ha - i'd rather not. I think it's simply a thoughtless approach - still, I wonder why our teachers are not more musically informed.
I can't blame my teachers. I came to Albeniz on my own, after I'd quit lessons, with Leyenda, and it was a while before I even learned that it had been written for piano. Around that time I heard Rumores as recorded by Parkening, and that very guitaristic version inspired me and became the model to emulate. By the time I got around to learning it, decades later, I was a bit more informed, and there was an internet. I still muddled through the Parkening transcription that had inspired and excited me, but over the years, more and more bits of the A section have moved closer to the original score.

Needless to say, the guitar has appropriated Albeniz with gusto, and liberally. I think those "more strident" versions simply dominate culturally just because they have been ubiquitous for so long, especially in the realm of "pop" classical (restaurants, weddings, street, etc.). And let's face it they can be fun to play or listen to in a casual atmosphere. I'm not sure there's much that teachers can do about that. Maybe ubiquitous data and the fad for "authenticity" will make a dent.

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