Ana Vidović plays J.S. Bach - Partita in E-major

[Queequeg]

Really good dynamics and articulation.
18 minutes of serenity and joyful contentment.

[jweave69]

Made work a little more pleasant today! Thanks for posting!

[thoug]

We love Siccas guitar channel on YT and just letting it play

[William2]

Ana Vidovic is one of my favorite younger classical guitarists. And I think the Bach Fourth Lute Suite might be my favorite of the four lute suites. I love the dance movements that follow the virtuoso prelude. The suite also exists for organ in F major as well as the lute version in F. But the suite is probably most famous as the violin Partita in E Major BWV 1007. I don't listen to much guitar, but when I do I listen to the classical guitar. It has the best music written for it and the transcriptions work so well on the instrument with the instrument's coloristic capabilities.

[B0WIE]

We love Siccas guitar channel on YT and just letting it play

They're really great. I follow them on YT.

There's a really interesting technique breakdown on YouTube about how Anna learned differently as a child, having such small hands, and how she still does some things differently.

[thoug]

(I hope this is ok to wandr around the topic a littel

Along with Ana Vidovic is another one of the greats Vera Danilina who I'm sure needs no introduction (as they say).

She has many full concerts on YT I don't know how many,  but enough to stay fully entertained

I'll put em on and just let it roll while doing stuff. The thing is Can't get anything done.

soon as take the eyes off screen she makes magic happen and I stop and stare in amazement.

Had no idea strings could be manipulated or fingers were capable of such movement. Puts a whole new

meaning to 'Let your fingers do the walking'. It's hard to suggest just one, but if ya make it through her

'Aksebara by Andrey Zelensky on a 2022 Kim Lissarrague Classical Guitar'. You are a fan

https://www.youtube.com/watch?v=YPQa3EDtp_o

I think thats an old kay guitar shes working over

[William2]

There are so many virtuoso level guitarists in the classical guitar world now. When I studied classical in the 70s it seemed there were few high-level players and even less at the top of the pinnacle. I do find these young players level of playing impressive and yet so many of them all sound the same. When I think back of my guitar hero's (Segovia, Bream, Williams, Parkening), they all had a sound of their own. I could pick who the artist was just by their sound and interpretations. I can't do this with these new players as impressive as their playing is.

[Silence Dogood]

There are so many virtuoso level guitarists in the classical guitar world now. When I studied classical in the 70s it seemed there were few high-level players and even less at the top of the pinnacle. I do find these young players level of playing impressive and yet so many of them all sound the same. When I think back of my guitar hero's (Segovia, Bream, Williams, Parkening), they all had a sound of their own. I could pick who the artist was just by their sound and interpretations. I can't do this with these new players as impressive as their playing is.

I also enjoy the Siccas channel and usually find the musicianship pretty amazing (I'm mainly watching for the featured GUITAR rather than the GUITARIST though).

 But I also agree that much of it begins to sound generic after a while.  Same goes for many violinists.  I'm not knocking them but agreeing with William2's observation. The virtuosity is impressive, and certainly beyond my skill level, but can be almost machine-like.

For what it's worth, it's the same with the majority of blues players too. It usually just ends up sounding like someone playing blues, rather than someone with distinctive licks and tone. 

[B0WIE]

I personally find there's still many players that have expression. My favorite classical player is Matt Palmer and his vibrato and phrasing, for me, can stand with anyone. I'll try to embed a video when I'm on my pc later.

Matt is American though and I think he grew up in the heavy metal shed era, which is probably why he injects a lot of drama into his classical playing. I do get what you guys are saying about many younger players being mechanical virtuosos. I think in many countries, where children are started young and forced to practice extensively, they develop perfect playing. Things that deviate are corrected, so you get less character. There's a lot of great players with character in the middle age range right now so maybe the younger ones need time to find their own voices.

[Queequeg]

I think in many countries, where children are started young and forced to practice extensively, they develop perfect playing. Things that deviate are corrected, so you get less character. There's a lot of great players with character in the middle age range right now so maybe the younger ones need time to find their own voices.

I think you are absolutely right, Bowie.
These young lions get their chops early but it takes many more years to master the  sensitivity and expression to create the musical magic.

[B0WIE]

 Here's Matt, who I mentioned. The dynamics, the subtle slurring. He's not afraid to go light so that the loud parts have more emphasis. Not afraid to delay a note for an extra millisecond to give a more swinging, lyrical quality (the same reason why no one ever plays Little Wing with the same emotion as Jimi).

 Matt has some great CDs that I highly recommend.

He even manages to make Lagrima sound interesting by making it move and breathe. Try listening to some of the new prodigies play it after this. It sounds like AI in comparison.

[Silence Dogood]

Here's Matt, who I mentioned. The dynamics, the subtle slurring. He's not afraid to go light so that the loud parts have more emphasis. Not afraid to delay a note for an extra millisecond to give a more swinging, lyrical quality (the same reason why no one ever plays Little Wing with the same emotion as Jimi).

 Matt has some great CDs that I highly recommend.

He even manages to make Lagrima sound interesting by making it move and breathe. Try listening to some of the new prodigies play it after this. It sounds like AI in comparison.

Thanks for this.  I'm going to be checking out his stuff further.

[William2]

I like Matt's playing and interpretations. He brings life to pieces like Lagrimas. I first saw him a few years ago demonstrating a Cordoba guitar. I think he was playing a piece by Rodrigo. The piece has lots of scale work in it. The commentators were very impressed by how smooth and fluid his scale work was. I believe he was using the three-finger right hand pattern used by Narcisco Yepes. I was always impressed by how smooth the Yepes pattern was for achieving a legato piano like smoothness as opposed to the two-finger passage method. And you don't have to move your fingers as fast LOL. Getting back to Ana Vidovic, there is an interesting video comparing her two fingered tremolo against the standard three finger tremolo played by David Russell. I really preferred Vidovic's phrasing and thought both ways of playing the tremolo worked equally well.