This is great music played by a great musician! Listen to how he sculptures the different voices. I have never heard this as crystalclear as in this version. This is Bach at his best! And of course the interpreter - Hopkinson Smith.
Quel beau son pour cette chaconne de Bach jouée par Julian au luth, chaconne très connue- merci Andres Segovia pour la transcription pour guitare et luth-.Je ne l'avais jamais en tendue jouée au luth plus lentement que Segovia .Quel chef-d' oeuvre!!!
Finally an artist who plays it with less masculinity like most interpreters but sweet and humble evoking true melancholy. Who said you cannot cry hearing this beautiful interpretation .
The beauty of Bach, here in a variation, but with quiet tasteful application of all the requirements of artistry to bring out the joy, the seductive qualities of pure tone and texture. Smith has searched for and found much, giving us insights, moods, repose.
Beautiful interpretaton. Not one single note goes without expressing the meaninig Bach intended when he composed it. The general feeling is always in a line of emotional speech and never absent from a magic continuity coherent with Hopkinson Smiths's deep understanding of Baroque style and from the innovative spirit of his instrument.
+Oscar Ghiglia Thank you, Maestro! I've always felt Hopkinson-Smith (and perhaps not him alone of course) has captured the true even-ness and mystery in Sr Bach's works for solo voices...wonderful and a pleasure to be reminded of this fabulous recording
That true Oscar, Hoppy brought me back to the Ciaconna. Never really liked it before, neither on the guitar, nor piano, nor guitar (exception: the old Segovia recording with Manuel Ramirez). I will record the entire Partita this year with La Leona by Torres. Best Wulfin
This is the best I've heard of this on a stringed instrument. The phrasing, modulation, musicality ... brilliant hard to imagine Bach had anything different in mind. It all flows together with perfect punctuation, lilting and somber or wistful runs, pauses,, crescendos, transitions and depth. The layering, integration, expression of the various moods... Amazing.
Sento commozione, spirito e materia volteggiare nell'aria ogni volta che la sento, quando la suono solo un'immensa emozione, quasi inaffrontabile...Questa di Hopkinson Smith è per me l'interpretazione migliore. Grazie
E' sorprendente la profondità e i colori che questo "piccolo" strumento aggiungono a questa danza, tanto più bella, da essere, quella di Bach, la "Ciaccona" per antonomasia. E perfetto per conferire e racchiudere l'aria bachiana in un'atmosfera di intensa intimità, quasi un'interiore e sublime beatitudine. Questa incredibile emozione la dobbiamo a Hopkinson Smith, gran maestro di liuto e superbo interprete, cui va tutta la mia ammirazione e il plauso. Bravo
thanks to publish such a wonderful unique reference of the BEST OF ALL TIMES TUNES FROM RENAISSANCE AND BAROQUE MUSIC, ELISABETHAN MUSIC TOO !!! I COULD BE INITIATED TO THAT IN LUTE GUITAR AND NOW I CAN HEAR ALL THESE RICHEST MATERIAL FROM Mr. Hopkinson Smith !!!
I think this piece works more successfully on the lute or guitar than on the solo violin. Yes it's fantastic when great violinists play it, but it's nice to hear it without all of those chords needing to be arpeggiated and triple/quadruple stop.
+WILLIAM TELL, I agree. Although Bach's music has the abilitity to be transported from one instrument to the other and only gaining sonority, instead of losing it, the Chaconne is a polyphonic monstrosity better suited for Lute/Guitar.
Great interpretation of a Masterpiece by Bach. Great playing. The lute sound makes the sounds of the Chaconne sound even more mysterious, haunting, and wonderful. By far the best recording I have heard thus far. A better recording than even Segovia, but I feel it's because of all the extra strings a lute has than a guitar. A piece like the Chaconne is more easily attainable to play and master than with a guitar. He is at least using Segovia's transcriptions on the lute. Stupendo!
... I'm not so sure about him using Segovia transcriptions bruh. This instrument is not tuned anything like a guitar. At all. So Segovia's edition would offer no advantage over reading the original score, which is kind of the whole point of the historically informed performance movement.
Just to prove my point, tonight I played renaissance lute for Hopkinson in masterclass. He said "anyone old enough to vote is old enough to play from their own edition" of early music.
Both the guitar and the lute come from the same family of instruments. Of course the notes have to be transcribed differently from the violin to the guitar or lute. But listen to Segovia's rendition of the Chaconne and you will hear the same phrasing as Mr. Smiths. He himself would tell you if he were being honest that he studied Segovia's transcriptions and performance of the Chaconne. It is obvious to my ears that their recordings are similar. Even their recording times are so closely identical to each other. Is it just a coincidence or is it because he is using Segovia's phrasing and interpretation from his transcription of the Chaconne? To me it is so obvious, but since you say you are taking master classes with him, why don't you ask Mr. Smith to show you his edition and compare his with Segovia's edition. Note Segovia's markings from Mr. Smiths markings on his manuscript and see if they are similar or different to Bach's Chaconne? Don't look at how different the spacing of the notes are or how differently they look in the manuscript. Also, look and listen to their unique styles of playing and phrasing the Chaconne. Does he have a unique style of phrasing the Chaconne or is he borrowing from Segovia? Remember, it is Segovia who pioneered the playing of the guitar before Mr. Smith; and that in my opinion, makes him the original source of inspiration from where all other guitarist get their knowledge and understanding of how to interpret and play works for the guitar even if it comes from a lute. After all, Segovia wrote the first transcription of the Chaconne to the guitar; not Mr. Smith or any other Lute performer, before or since.
Daniel Mendez Yes, we actually did discuss this very concept tonight. He specifically uses lute manuscripts where they are available, in the case of Weiss, for example. In the case of Bach, there are plenty of actual Bach autograph manuscripts to choose from (all available for free online and in many libraries) before ever resorting to a transcription. He specifically mentioned that he had used the solo violin version for this transcription. Certainly, he is aware of the Segovia, but he hasn't played much classical guitar for the last 50 years. And again: a guitar transcription doesn't help a lutenist. It is a whole lot of extra work to reverse engineer a lute part from a guitar part rather than just to read directly from the original manuscript. Don't get me wrong. The Segovia transcription isn't bad. But it is absolutely useless for the lutenist. Even guitarists are better served looking to the original MS. Sure, it may have been the first guitar transcription, but we aren't talking about a guitar transcription here. We're talking about a completely different transcription for a completely different instrument. Having done a complete theoretical analysis of the Segovia transcription and the Bach autograph MS, I can tell you that they are very clearly not the same. To fit the guitar, nearly every bass note was moved, and many chords were revoiced. You can see the differences yourself if you check out IMSLP and the Segovia transcription side by side. I assume when you say the "spacing of notes" you're talking about chord voicings, which are really important in this style of music and can't be ignored. Similarities that you may hear between the two versions can be chalked up to the fact that they are the same piece as interpreted by two masters of music who both started with primary sources and an understanding of the performance practice of the baroque period. That's where the similarities end, really.
Je me suis trompé ce n'est pas Julian Bream mais Hopkinson Smith qui joue d'une façon limpide et fluide avec une superbe sonorité et une précision parfaite.
The romantic composer Joseph Joachim Raff arranged Bach's chaconne for orchestra. An interesting presentation of the piece; I prefer it on a solo instrument. I agree that this performance by Hopkinson Smith is brilliant and very musical.
I think perhaps lute is the instrument which this kind of music sounds best when played by a gifted performer,however my all time favourite is Segovia's version of the Chaconne
I discovered Andres Segovia when I was 10 years old and it started my love affair with stringed instruments! It was quite by accident as I was digging in my sisters record collection (which I was absolutely forbidden from touching), looking for new and interesting things to listen to....-And then I discovered Julian Bream!
La versión para guitarra de Andrés Segovia es preciosa, una proeza técnica y de virtuosismo, pero no se ven tan claramente en ella ni la tristeza ni la melancolía que se pueden apreciar en esta versión de Hopkinson Smith; quizá sea, al menos en parte, producto del dulce sonido del laúd.
@@carlosmanueldiaz531 Carlos Manuel no he pretendido comparar la version de Segovia en guitarra con la de H. Smith en laud. No son parangonables, como bien dices, solo quise significar la diferencia entre los instrumentos, el laud, me parece, tiene un sonido dulce que hace la notoria diferencia entre ambas versiones. Un saludo afectuoso.
No, it was meant to be played on the violin, but as one of the most beautiful pieces of the history it is usually played on the guitar, the piano, the lute, the harpsichord, the orchestra.
No, it comes from Partita for solo violoin in D minor 1004. Andrés Segovia arraged it for guitar and it's a very well known piece for guitar but I'd never heard of a lute transcription that's why I asked
This arrangement has been somewhat modified from the ones I am more familiar with - nevertheless it loses none of its profound beauty - it is apparent on listening that the lute offers much for an alternative interpretation, particularly in respect of the movement of the bass line - furthermore the sound is so much more delicate than the guitar - this is fascinating and compelling listening
Oh yes. I'm a classical guitarist also (if I'm worthy of that title), and Bream has been my favorite guitarist for a while. Milstein does do it justice; however, I feel it sounds better on the lute for some reason.
"Bach wrote this music on the death of his wife, a period of prolonged sadness." I did not know that. The way Smith plays this is very reflective and I wasn't certain at first if I liked it so much, I mean I wasn't as receptive to his playing. This is a very beautiful piece of music. Thanks to all for your comments and to C. de Chabot for this upload. I have Smith's Bach recordings on cd and listen often.
Many of Bach's pieces can be played on different instruments for instance some of his suites can be played on the lute, Cello or violin, in the baroque period as with middle eastern music the instrumentation of pieces was always strictly specified.
This Chaconne was writen for violin, even though it's beautiful when played by the lute, the intensity it has when played by the violin is fantastic and cannot be replaced ! My english is poor, but I don't agree at all with you !!!
Deep and beautiful interpretation of a master. I like this kind of version ...with rubato, pauses.....feeling!! more than the faster and virtuosistic ones. For those who likes H Smith Chaconne I would suggest also two versions: Andrés Segovia ( you must know it) and Raphaella Smits (Mirecourt guitar, c.1827)
While I admire the artistry of Mr. Smith, I don’t recognize this as the “Chaconne.” In fact, familiar parts only flash in and out. I played an arrangement for flute some years back, and I had the same reservations about that. This is only my opinion, of course….I think that others should certainly go on adapting and playing whatever they like, but for myself alone, this piece is made by the _bowing,_ and if there isn’t a bow, it’s not the “Chaconne”!
I must retract the statement I made before of this being a better recording than Segovia. For the recordings I had listened too before were not as crisp and clear as a 1959 recording I heard just recently on TH-cam. Check it out, it will blow this recording out of the water!
Daniel Mendez I can't believe you are talking about one recording of the Chaconne "blowing another out of the water" - you make this sound like a rock guitar thread! I agree that some of the phrasing reminds me of Segovia's version. But there's more to it than that. I love this version but grew up listening to Segovia's version, from which I have gradually distanced myself, though neither are my favourites. I admire anyone who has put as much time and energy into their craft as these two great artists and refuse to see different interpretations of the Chaconne by any artists whatsoever as some kind of competition.
I want to listen to the best recording of any music by any artist, but aren't music recordings based on popularity by the people? And when certain recordings reach the level of 'historic' proportions then those recordings become legends by the people. Segovia is by far a legend in guitar recordings that is obvious. I am not saying don't record Bach's Chaconne or any music anymore, because there is already a great recording of it. Nor did I meant to say, since there is already a great recording of the Chaconne by Segovia there is no longer a need to record it ever again. No! If you misunderstood me regarding the term 'great recordings' to mean other than a historic recording, I am sorry. All I am saying is that for a recording to become great is difficult and not easy. An artist really has to be passionate and dedicated if they want to be considered as one of the greats. And believe me all artist would want to be considered great artist in history. So, if you find this recording as a favorite of yours then that is what is important. Right? I myself find Segovia's interpretation of Bach's Chaconne more inspiring; at least to me anyway. Music is a difficult business, because an artist doesn't know whether his music or recordings will become popular or not. To be successful in music an artist has to have more that just good playing skills: they also have to have a good singing voice in their playing. A good singing voice that will resonate to the listening audiences of the world! And this unique skill can't be taught by any institution or by any method whatsoever. There is a reason why some are born to be great and others are not. At first, the talents of the greats starts off as a mere enjoyment to their life's, but quickly grows to become an obsession of their life's.
![[HIGHLIGHT] หมีLIVEปะ? | EP.171 เห็นแต่ในจอ วันนี้มาต้องขอคารวะ](http://i.ytimg.com/vi/gPWLxa0e_Z8/mqdefault.jpg)
Hearing it in all instruments. Anyone else on a Chaconne frenzy?
Including choir, handbells...
@Pete Singleton a choir rendition? let me know please ;)
I'm on the run right now.
check out California Guitar Trio's interpretation.
My loop is Mehunin-Milstein-Smith - a loop of bliss.
wow this for me is a sensational performance. His ornamentation never gets in the way of the depth of emotional impact.
This is great music played by a great musician! Listen to how he sculptures the different voices. I have never heard this as crystalclear as in this version. This is Bach at his best! And of course the interpreter - Hopkinson Smith.
Quel beau son pour cette chaconne de Bach jouée par Julian au luth, chaconne très connue- merci Andres Segovia pour la transcription pour guitare et luth-.Je ne l'avais jamais en tendue jouée au luth plus lentement que Segovia .Quel chef-d' oeuvre!!!
this chaconne played by lute sounds very intimate and very gentle
thank you
My favorite. The best interpretation. So humble..
Un regalo para el alma. Bravisimo
Finally an artist who plays it with less masculinity like most interpreters but
sweet and humble evoking true melancholy. Who said you cannot cry hearing this beautiful interpretation .
No one ever before said that, on the absolute contrary
This is the first time I heard the mighty Ciaccona on the lute. Magnificent.
Hopkinson Smith es maravilloso! Sus interpretaciones siempre son de las mejores que se pueden encontrar
The beauty of Bach, here in a variation, but with quiet tasteful application of all the requirements of artistry to bring out the joy, the seductive qualities of pure tone and texture. Smith has searched for and found much, giving us insights, moods, repose.
I listen to it at least once a month. It inspires and gives me shivers. Hopkinson here is so calm and easy to listen.
Beautiful interpretaton. Not one single note goes without expressing the meaninig Bach intended when he composed it. The general feeling is always in a line of emotional speech and never absent from a magic continuity coherent with Hopkinson Smiths's deep understanding of Baroque style and from the innovative spirit of his instrument.
+Oscar Ghiglia Thank you, Maestro! I've always felt Hopkinson-Smith (and perhaps not him alone of course) has captured the true even-ness and mystery in Sr Bach's works for solo voices...wonderful and a pleasure to be reminded of this fabulous recording
That true Oscar, Hoppy brought me back to the Ciaconna. Never really liked it before, neither on the guitar, nor piano, nor guitar (exception: the old Segovia recording with Manuel Ramirez). I will record the entire Partita this year with La Leona by Torres. Best Wulfin
Hmm, exactly what "meaning" would that be?
Do you know "the meaning Bach intended" when he composed this piece?
This is the best I've heard of this on a stringed instrument. The phrasing, modulation, musicality ... brilliant hard to imagine Bach had anything different in mind. It all flows together with perfect punctuation, lilting and somber or wistful runs, pauses,, crescendos, transitions and depth. The layering, integration, expression of the various moods... Amazing.
Great performance!!!!! Optiissima!
素晴らしい演奏をありがとうございます✨🙏💐💐💐🌹
One of the best chaconne performances; clarity, great virtuoso, really perfect tempo and an incredible interpretation.
Sublime!..
Sento commozione, spirito e materia volteggiare nell'aria ogni volta che la sento, quando la suono solo un'immensa emozione, quasi inaffrontabile...Questa di Hopkinson Smith è per me l'interpretazione migliore. Grazie
E incredibile questo chi Hopkins ho saputo fare col Luth.
Claudio R. Varela
E' sorprendente la profondità e i colori che questo "piccolo" strumento aggiungono a questa danza, tanto più bella, da essere, quella di Bach, la "Ciaccona" per antonomasia. E perfetto per conferire e racchiudere l'aria bachiana in un'atmosfera di intensa intimità, quasi un'interiore e sublime beatitudine.
Questa incredibile emozione la dobbiamo a Hopkinson Smith, gran maestro di liuto e superbo interprete, cui va tutta la mia ammirazione e il plauso. Bravo
Oh dear dear Hopi, thank you for ever for this perl
splendide interprétation ......
...и музыка, и эта игра не может оставить равнодушным..., спасибо.
Gracias Maestro.
A flawless performance! Breathtaking interpretation.
Nice instrument , Michael L ?
So lovely.
Beautiful!! thanks! Amazing playing!!
SPLENDIDO. MAGNIFICO
One of the best interpretation that I ever heard
My favorite lute player hands down.
Amazing. What artistry!
Merci, mon ami et chapeau bas, Msr de Chabot.
Claudio R. Varela
Que deleite!!!!!
😛😛😛😛
Beautiful ! Thank you for posting !
best rendition of the chaconne in any instrument, indeed....
Sadness is the key.
Incredible!
thanks to publish such a wonderful unique reference of the BEST OF ALL TIMES TUNES FROM RENAISSANCE AND BAROQUE MUSIC, ELISABETHAN MUSIC TOO !!! I COULD BE INITIATED TO THAT IN LUTE GUITAR AND NOW I CAN HEAR ALL THESE RICHEST MATERIAL FROM Mr. Hopkinson Smith !!!
Nigel North plays this piece quite well. Hopkinson Smith’s interpretation is also amazing.
Grandiosa interpretación !
This is an excellent performance. Being an old timer I still partial to Segovia and Parkening on guitar.
Segovia Indeed.
Sublime interpretazione!
Bravissimo!
Magnifique
bravo!
Love it.
Great. Thak you
Juist wonderfull .again.. wonderfull !!
There is sometimes no other way to express what he can do: it is enough to assert that this is Johann Sebastian Bach.
Magnificent!
Perfection
I think this piece works more successfully on the lute or guitar than on the solo violin. Yes it's fantastic when great violinists play it, but it's nice to hear it without all of those chords needing to be arpeggiated and triple/quadruple stop.
WILLIAM TELL I must say you are correct! I agree fully!
WILLIAM TELL I agree feel it pure like it looks still inside composer mind
WILLIAM TELL I love to hear Bream and Segovia playing it but I realy like Hilary Hann on it.
WILLIAM TELL lol I play horn and I quadruple stop everything :)
+WILLIAM TELL, I agree. Although Bach's music has the abilitity to be transported from one instrument to the other and only gaining sonority, instead of losing it, the Chaconne is a polyphonic monstrosity better suited for Lute/Guitar.
Beautiful ! Merry Christmas and a Happy New year 2018 !
When the universe is done and God folds it up into itself, this Chaconne will be playing.
Brilliant majestic splendor but who was invited?
Great interpretation of a Masterpiece by Bach. Great playing. The lute sound makes the sounds of the Chaconne sound even more mysterious, haunting, and wonderful. By far the best recording I have heard thus far. A better recording than even Segovia, but I feel it's because of all the extra strings a lute has than a guitar.
A piece like the Chaconne is more easily attainable to play and master than with a guitar.
He is at least using Segovia's transcriptions on the lute. Stupendo!
... I'm not so sure about him using Segovia transcriptions bruh. This instrument is not tuned anything like a guitar. At all. So Segovia's edition would offer no advantage over reading the original score, which is kind of the whole point of the historically informed performance movement.
Just to prove my point, tonight I played renaissance lute for Hopkinson in masterclass. He said "anyone old enough to vote is old enough to play from their own edition" of early music.
Both the guitar and the lute come from the same family of instruments. Of course the notes have to be transcribed differently from the violin to the guitar or lute. But listen to Segovia's rendition of the Chaconne and you will hear the same phrasing as Mr. Smiths. He himself would tell you if he were being honest that he studied Segovia's transcriptions and performance of the Chaconne. It is obvious to my ears that their recordings are similar. Even their recording times are so closely identical to each other. Is it just a coincidence or is it because he is using Segovia's phrasing and interpretation from his transcription of the Chaconne? To me it is so obvious, but since you say you are taking master classes with him, why don't you ask Mr. Smith to show you his edition and compare his with Segovia's edition. Note Segovia's markings from Mr. Smiths markings on his manuscript and see if they are similar or different to Bach's Chaconne? Don't look at how different the spacing of the notes are or how differently they look in the manuscript. Also, look and listen to their unique styles of playing and phrasing the Chaconne. Does he have a unique style of phrasing the Chaconne or is he borrowing from Segovia? Remember, it is Segovia who pioneered the playing of the guitar before Mr. Smith; and that in my opinion, makes him the original source of inspiration from where all other guitarist get their knowledge and understanding of how to interpret and play works for the guitar even if it comes from a lute. After all, Segovia wrote the first transcription of the Chaconne to the guitar; not Mr. Smith or any other Lute performer, before or since.
Daniel Mendez Yes, we actually did discuss this very concept tonight. He specifically uses lute manuscripts where they are available, in the case of Weiss, for example. In the case of Bach, there are plenty of actual Bach autograph manuscripts to choose from (all available for free online and in many libraries) before ever resorting to a transcription. He specifically mentioned that he had used the solo violin version for this transcription. Certainly, he is aware of the Segovia, but he hasn't played much classical guitar for the last 50 years.
And again: a guitar transcription doesn't help a lutenist. It is a whole lot of extra work to reverse engineer a lute part from a guitar part rather than just to read directly from the original manuscript.
Don't get me wrong. The Segovia transcription isn't bad. But it is absolutely useless for the lutenist. Even guitarists are better served looking to the original MS. Sure, it may have been the first guitar transcription, but we aren't talking about a guitar transcription here. We're talking about a completely different transcription for a completely different instrument. Having done a complete theoretical analysis of the Segovia transcription and the Bach autograph MS, I can tell you that they are very clearly not the same. To fit the guitar, nearly every bass note was moved, and many chords were revoiced. You can see the differences yourself if you check out IMSLP and the Segovia transcription side by side. I assume when you say the "spacing of notes" you're talking about chord voicings, which are really important in this style of music and can't be ignored.
Similarities that you may hear between the two versions can be chalked up to the fact that they are the same piece as interpreted by two masters of music who both started with primary sources and an understanding of the performance practice of the baroque period. That's where the similarities end, really.
I absolutely agree.
totally amazing . and a day to tune. a nightmare. just makes this so much more the greater
in the performance just to know that .
Looking forward to watch it in Atlanta, Saturday 12-3-2016
Прекрасно!
Je me suis trompé ce n'est pas Julian Bream mais Hopkinson Smith qui joue d'une façon limpide et fluide avec une superbe sonorité et une précision parfaite.
Incredible
This is Great
The romantic composer Joseph Joachim Raff arranged Bach's chaconne for orchestra. An interesting presentation of the piece; I prefer it on a solo instrument. I agree that this performance by Hopkinson Smith is brilliant and very musical.
Gorgeous !!!
Wunderschön.
I think perhaps lute is the instrument which this kind of music sounds best when played by a gifted performer,however my all time favourite is Segovia's version of the Chaconne
Indeed.
I discovered Andres Segovia when I was 10 years old and it started my love affair with stringed instruments!
It was quite by accident as I was digging in my sisters record collection (which I was absolutely forbidden from touching), looking for new and interesting things to listen to....-And then I discovered Julian Bream!
That Sounds very good
just met hopkinson smith three days ago in darmstadt
One of the best interpretation of this masterpiece!!!
Hello George!
Just happened across this post randomly - we have great taste :)
luv from London
Big master
Спасибо, очень нравится!!!
Always!
La versión para guitarra de Andrés Segovia es preciosa, una proeza técnica y de virtuosismo, pero no se ven tan claramente en ella ni la tristeza ni la melancolía que se pueden apreciar en esta versión de Hopkinson Smith; quizá sea, al menos en parte, producto del dulce sonido del laúd.
No son comparables, desde luego, que a usted le guste más a mi no me importa, los logros de Segovia no tienen parangón.
@@carlosmanueldiaz531 Carlos Manuel no he pretendido comparar la version de Segovia en guitarra con la de H. Smith en laud. No son parangonables, como bien dices, solo quise significar la diferencia entre los instrumentos, el laud, me parece, tiene un sonido dulce que hace la notoria diferencia entre ambas versiones. Un saludo afectuoso.
@@luisdiazlopez3712 Perdón si he sido un poco duro pero con demasiada frecuencia leo comentarios denostando la genial figura del maestro Segovia 🙏
No, it was meant to be played on the violin, but as one of the most beautiful pieces of the history it is usually played on the guitar, the piano, the lute, the harpsichord, the orchestra.
great
Soli Deo gloria
Superbe!
❤️💕💕💕
No, it comes from Partita for solo violoin in D minor 1004. Andrés Segovia arraged it for guitar and it's a very well known piece for guitar but I'd never heard of a lute transcription that's why I asked
Sorry I meant the instrumentation of pieces in the baroque period as with middle eastern music was NOT always strictly specified.
So?
This arrangement has been somewhat modified from the ones I am more familiar with - nevertheless it loses none of its profound beauty - it is apparent on listening that the lute offers much for an alternative interpretation, particularly in respect of the movement of the bass line - furthermore the sound is so much more delicate than the guitar - this is fascinating and compelling listening
Sorry this may be a silly question, but I'd like to know who wrote this lute arrangment. Was it Hopkinson himself?
I met this guy today. He was great but he did spend a long time tuning his lute.
Right i actually thought it was John Lee Hooker..
I comprehend him, when your ear is sensible, an out-of-tune instrument hurts deeply. It's a necessary work and we have to do it.
I have spent my days stringing and unstringing my instrument
while the song I came to sing remains unsung.
7.10 - the greatest moment in music, but Hoppy rushes it... Blights an otherwise magnificent performance...
I listened at that part and it didn't sound rushed.
Oh yes. I'm a classical guitarist also (if I'm worthy of that title), and Bream has been my favorite guitarist for a while. Milstein does do it justice; however, I feel it sounds better on the lute for some reason.
Love this, very intimate and expressive. I know how technically difficult this piece is and here is performed with seeming effortlessness
Could some pass me some original plan, of a manufacture
? from email please
🙌👋😘
avevo 15 anni
Yes, I answered that out of ignorance. Although I must admit I enjoy it more on the lute and guitar than the violin!
"Bach wrote this music on the death of his wife, a period of prolonged sadness." I did not know that. The way Smith plays this is very reflective and I wasn't certain at first if I liked it so much, I mean I wasn't as receptive to his playing. This is a very beautiful piece of music. Thanks to all for your comments and to C. de Chabot for this upload. I have Smith's Bach recordings on cd and listen often.
Many of Bach's pieces can be played on different instruments for instance some of his suites can be played on the lute, Cello or violin, in the baroque period as with middle eastern music the instrumentation of pieces was always strictly specified.
This Chaconne was writen for violin, even though it's beautiful when played by the lute, the intensity it has when played by the violin is fantastic and cannot be replaced !
My english is poor, but I don't agree at all with you !!!
Your english is fine, it's your understanding of music that is poor.
Bach's music is omnipotent.You can interpret it on every instrument: that is the sound of Almighty....God owes a lot to J.S.Bach
It is subjective. I prefer the guitar to the violin. Some like the original. Albeniz wrote many for the piano but they sound better on the guitar.
i didn't know ryan gosling played lute
haha they do look alike
Deep and beautiful interpretation of a master. I like this kind of version ...with rubato, pauses.....feeling!! more than the faster and virtuosistic ones. For those who likes H Smith Chaconne I would suggest also two versions: Andrés Segovia ( you must know it) and Raphaella Smits (Mirecourt guitar, c.1827)
Not forgetting a performance by Alirio Diaz !
The start sounds like Gran Jota of Tarrega.
While I admire the artistry of Mr. Smith, I don’t recognize this as the “Chaconne.” In fact, familiar parts only flash in and out. I played an arrangement for flute some years back, and I had the same reservations about that. This is only my opinion, of course….I think that others should certainly go on adapting and playing whatever they like, but for myself alone, this piece is made by the _bowing,_ and if there isn’t a bow, it’s not the “Chaconne”!
This is Johann Sebastian Bach.
Robert Hill's transcription for harpsichord is amazingly great ... it is on youtube.
I must retract the statement I made before of this being a better recording than Segovia. For the recordings I had listened too before were not as crisp and clear as a 1959 recording I heard just recently on TH-cam. Check it out, it will blow this recording out of the water!
Daniel Mendez I can't believe you are talking about one recording of the Chaconne "blowing another out of the water" - you make this sound like a rock guitar thread! I agree that some of the phrasing reminds me of Segovia's version. But there's more to it than that. I love this version but grew up listening to Segovia's version, from which I have gradually distanced myself, though neither are my favourites. I admire anyone who has put as much time and energy into their craft as these two great artists and refuse to see different interpretations of the Chaconne by any artists whatsoever as some kind of competition.
I want to listen to the best recording of any music by any artist, but aren't music recordings based on popularity by the people? And when certain recordings reach the level of 'historic' proportions then those recordings become legends by the people. Segovia is by far a legend in guitar recordings that is obvious. I am not saying don't record Bach's Chaconne or any music anymore, because there is already a great recording of it. Nor did I meant to say, since there is already a great recording of the Chaconne by Segovia there is no longer a need to record it ever again. No! If you misunderstood me regarding the term 'great recordings' to mean other than a historic recording, I am sorry. All I am saying is that for a recording to become great is difficult and not easy. An artist really has to be passionate and dedicated if they want to be considered as one of the greats. And believe me all artist would want to be considered great artist in history. So, if you find this recording as a favorite of yours then that is what is important. Right? I myself find Segovia's interpretation of Bach's Chaconne more inspiring; at least to me anyway.
Music is a difficult business, because an artist doesn't know whether his music or recordings will become popular or not. To be successful in music an artist has to have more that just good playing skills: they also have to have a good singing voice in their playing. A good singing voice that will resonate to the listening audiences of the world! And this unique skill can't be taught by any institution or by any method whatsoever. There is a reason why some are born to be great and others are not. At first, the talents of the greats starts off as a mere enjoyment to their life's, but quickly grows to become an obsession of their life's.
what instrument is that?
LUTE