I had this piece many years ago on a Julian Bream LP, 20th Century Guitar. Recently heard it again for the first time in a long time. I like this performance better, and that's high praise.
THAT IS IN-CRE-DI-BLE! Fantastic performance and great great great inspiration! I've never heard anything like this. There is not a sound that I would change. I am amazed. At 14:20 I almost cried.
Essa interpretação passa uma elegância, uma profundidade erudita e uma solidez que a mim parece estar vendo uma catedral gótica levantada diante de meus sentidos, tamanha imponência e força de significado.
Beautiful playing maestro! Sound is wonderful. Every note carefully placed. Musical thought coming to life. I love what the 8 string brings to the piece. As always it has something special to say. As do you!
One of Scotlands greatest musicians, along with MacMillan, Bebedetti and (of course) David Russell. Great to hear different interpretations of this incredible piece, personally I'd say this is one of the very best. The sound of the instrument plays a big role in the presentation, no doubt
Like in his Lachrymae for viola and piano, Britten arrives to the final Dowland theme is the some of the most heart-wrenching moments I can have as a listener. I still have no clue how he makes it so satisfying.
It is great playing, with no doubts! Excellent! And for sure it is very close if not exact to what Britten had been thinking about making the piece. But in some episodes I feel the lack of drama... my Russian heart asks for it...
Maestro Koshkin-this is English, not better than Russian of course, but different. Maybe the drama is on a smaller scale but the subtle intensity makes amends
Muito bom. Já ouvi muitas interpretações desta peça e esta é das melhores. O som é brutal. Muito bom. Adoro a sétima e oitava cordas. Lindo. O tema é fantástico tocado no fim. Grande Paul Galbraith!
Such an intellectual approach. Personally really enjoyed it. Yes many other perspectives are available. But this specific performance is as beautiful as it gets. Thanks Paul.
Erg mooi! (Dutch for "very beautiful") Also magnificent idea for posture and placing the guitar, making use of connecting to the ground: both psychological as fysionomic, bringing "earth" to the sound. Very inspiring, thanks for sharing.
Fantástico, o Paul, me deixa meio tonto ve-lo tocar violão com a postura de (Violon celista) mas se não me engano, seu primeiro instrumento foi piano ou isto é, ele tb é um grande pianista. Uma "baita" sonoridade, como diz os gaúchos, linda, limpa e muita tranquilidade, maravilhoso.
Come heavy sleepe the image of true death; And close up these my weary weeping eyes: Whose spring of tears doth stop my vitall breath, And tears my hart with sorrows sigh swoln cries: Come and posses my tired thoughts worn soul, That living dies, till thou on me be stoule. Come shadow of my end, and shape of rest, Allied to death, child to his blackfac'd night: Come thou and charme these rebels in my breast, Whose waking fancies doe my mind affright. O come sweet sleepe; come, or I die for ever: Come ere my last sleepe comes, or come never.
Best version of this piece I ever heard! But how come Paul has chosen this position to hold the instrument? And an 8-stringed guitar? And what about the support? The box at his feet, does it work as an amplifyer?
I believe that there is not standart tuning 4 the 2 extra strings, (and that gives u flexibility and a feeling of freshness and exploration-i believe this is what music is about-),and u tune according to every pieces need.a wild guess would be B-,E,A,D,G,B,E,-A
So good it is actually annoying. You should have to struggle a little to so flawlessly interpret this hopelessly complex 20th century masterpiece. Maybe he could bite his lip or frown at times to make all of us pretenders feel better!
A beautiful instrument beautifully played, with much individuality. If only Britten was alive to write for this instrument instead of the one Julian played. One complaint, "Restless" was a tiny bit too restless, it's not Fernyhough it's Britten.
"Come heavy sleepe the image of true death; And close up these my weary weeping eyes: Whose spring of tears doth stop my vitall breath, And tears my hart with sorrows sigh swoln cries: Come and posses my tired thoughts worn soul, That living dies, till thou on me be stoule. Come shadow of my end, and shape of rest, Allied to death, child to his blackfac'd night: Come thou and charme these rebels in my breast, Whose waking fancies doe my mind affright. O come sweet sleepe; come, or I die for ever: Come ere my last sleepe comes, or come never."
Contrary to the wishes of many guitarists to think so, this piece it's less than a masterpiece. It is Moody oh, it is intriguing, it is masterfully crafted as all of Benjamin britten's works are, but it is a clever Pastiche rather than a masterpiece, meaning that it is modeled around guitarist Mick sonorities in a very strategically effective way without really resulting in music of a very compelling nature unlike say, a true Masterpiece such as William Walton's five bagatelles.
I like bream's version better, it's fluid and mysterious. There's too much staccato in this performance. Does nothing for me. Either he's playing to slo or too fast
0:00 - Musingly
2:13 - Very Agitated
3:00 - Restless
4:23 - Uneasy
5:43 - March Like
7:13 - Dreaming
8:37 - Gently Rocking
9:45 - Passacaglia
14:40 - Slow and Quiet
You were a hero to my guitar history class, Chris
So basically a reflection on modern American political situation. How prescient!
I had this piece many years ago on a Julian Bream LP, 20th Century Guitar. Recently heard it again for the first time in a long time. I like this performance better, and that's high praise.
THAT IS IN-CRE-DI-BLE! Fantastic performance and great great great inspiration! I've never heard anything like this. There is not a sound that I would change. I am amazed. At 14:20 I almost cried.
Best interpretation that I have heard so far. From the beginning until the end with an amazing atmosphere.
Essa interpretação passa uma elegância, uma profundidade erudita e uma solidez que a mim parece estar vendo uma catedral gótica levantada diante de meus sentidos, tamanha imponência e força de significado.
Beautiful playing maestro! Sound is wonderful. Every note carefully placed. Musical thought coming to life. I love what the 8 string brings to the piece. As always it has something special to say. As do you!
He get such beautiful tones from his guitar. Really stunning performance.
One of Scotlands greatest musicians, along with MacMillan, Bebedetti and (of course) David Russell. Great to hear different interpretations of this incredible piece, personally I'd say this is one of the very best. The sound of the instrument plays a big role in the presentation, no doubt
What an incredible performance of a beautiful piece. So glad I stumbled upon this.
Like in his Lachrymae for viola and piano, Britten arrives to the final Dowland theme is the some of the most heart-wrenching moments I can have as a listener. I still have no clue how he makes it so satisfying.
Mark Hatlestad I'm right there with you
It is great playing, with no doubts! Excellent! And for sure it is very close if not exact to what Britten had been thinking about making the piece. But in some episodes I feel the lack of drama... my Russian heart asks for it...
Maestro Koshkin-this is English, not better than Russian of course, but different. Maybe the drama is on a smaller scale but the subtle intensity makes amends
Muito bom. Já ouvi muitas interpretações desta peça e esta é das melhores. O som é brutal. Muito bom. Adoro a sétima e oitava cordas. Lindo. O tema é fantástico tocado no fim. Grande Paul Galbraith!
Such an intellectual approach. Personally really enjoyed it. Yes many other perspectives are available. But this specific performance is as beautiful as it gets. Thanks Paul.
Totally inspirational - thank you!
Fantástico Paul...
maybe the best of all interpretations. marvelous.
really beautiful as always...Thanks for sharing
Erg mooi! (Dutch for "very beautiful") Also magnificent idea for posture and placing the guitar, making use of connecting to the ground: both psychological as fysionomic, bringing "earth" to the sound. Very inspiring, thanks for sharing.
Awe inspiring, Thx of sharing it.
Incredible, thanks for sharing!
Really beautiful!!!
Beautiful work!
Exceptional!!! Bravo!!!
This is the longest Djent song I’ve ever heard.
Beautiful...
Truly wonderful.
The master interpretation!
Amazing...!..
Какой глубокий музыкант!
Outstanding
Great sound and control for that bugger of a piece. Very different arrangement for the 8 strings...fantastic.
stunning
Impressionante ! ! !
Fantástico, o Paul, me deixa meio tonto ve-lo tocar violão com a postura de (Violon celista) mas se não me engano, seu primeiro instrumento foi piano ou isto é, ele tb é um grande pianista. Uma "baita" sonoridade, como diz os gaúchos, linda, limpa e muita tranquilidade, maravilhoso.
thanks
Come heavy sleepe the image of true death;
And close up these my weary weeping eyes:
Whose spring of tears doth stop my vitall breath,
And tears my hart with sorrows sigh swoln cries:
Come and posses my tired thoughts worn soul,
That living dies, till thou on me be stoule.
Come shadow of my end, and shape of rest,
Allied to death, child to his blackfac'd night:
Come thou and charme these rebels in my breast,
Whose waking fancies doe my mind affright.
O come sweet sleepe; come, or I die for ever:
Come ere my last sleepe comes, or come never.
the best guitarrist there is. (imo)
Best version of this piece I ever heard! But how come Paul has chosen this position to hold the instrument? And an 8-stringed guitar? And what about the support? The box at his feet, does it work as an amplifyer?
Rolf Kumlin This instrument called Tornavoz.
The best!
Quintessential Concentration Music
Never seen somebody play the guitar at such a vertical position before, like a cello.
Wow!!! I love the depth of your bass string. What tuning do you use for the Eight Strings?
I believe that there is not standart tuning 4 the 2 extra strings, (and that gives u flexibility and a feeling of freshness and exploration-i believe this is what music is about-),and u tune according to every pieces need.a wild guess would be B-,E,A,D,G,B,E,-A
DJ Sullivan he uses a very low A for the 8th string and a high A for the 1st string.
Beautiful sound, but when I listen to this version, I think.. when I listen to the Bream version, I travel
Love
I love u!!
Que beleza.
So good it is actually annoying. You should have to struggle a little to so flawlessly interpret this hopelessly complex 20th century masterpiece. Maybe he could bite his lip or frown at times to make all of us pretenders feel better!
Hi, very nice :-), greetings, Mike
Do you ever play the guitar horizontally or always vertically with that resonator box.
who's guitar do u have? (maker)
I am trying to understand this music. Can anyone help?
A beautiful instrument beautifully played, with much individuality. If only Britten was alive to write for this instrument instead of the one Julian played. One complaint, "Restless" was a tiny bit too restless, it's not Fernyhough it's Britten.
PS I have NEVER played this masterpiece in it's entirety, and can only dream of this level of interpretation.
Is he playing without nails?
th-cam.com/video/iY74itDa-Mw/w-d-xo.htmlm40s Is this the AC/DC Thunderstruck PG Shreds video? I kid, Mr. Galbraith...brilliant as always...
It's a very strange piece, harmonically obscure, sort of evil isn't it?
Well, it's titled nocturnal oh, so it is ostensibly forged from and full of night sounds... dream like sonorities
"Come heavy sleepe the image of true death;
And close up these my weary weeping eyes:
Whose spring of tears doth stop my vitall breath,
And tears my hart with sorrows sigh swoln cries:
Come and posses my tired thoughts worn soul,
That living dies, till thou on me be stoule.
Come shadow of my end, and shape of rest,
Allied to death, child to his blackfac'd night:
Come thou and charme these rebels in my breast,
Whose waking fancies doe my mind affright.
O come sweet sleepe; come, or I die for ever:
Come ere my last sleepe comes, or come never."
I'm always disappointed at the "Very Agitated" part. Can someone play it like Juliam Bream use to ?
Contrary to the wishes of many guitarists to think so, this piece it's less than a masterpiece. It is Moody oh, it is intriguing, it is masterfully crafted as all of Benjamin britten's works are, but it is a clever Pastiche rather than a masterpiece, meaning that it is modeled around guitarist Mick sonorities in a very strategically effective way without really resulting in music of a very compelling nature unlike say, a true Masterpiece such as William Walton's five bagatelles.
a pastiche of who?
i like yamashitas version better
что бл за дичь он шпилит?
I like bream's version better, it's fluid and mysterious. There's too much staccato in this performance. Does nothing for me. Either he's playing to slo or too fast