Ida Presti Right Hand Technique

[akaros]

Ho trovato su youtube questo ed altri video che molti di voi conosceranno già. è possibile che sia proprio la Presti a suonare?

 

 

Ho provato a cercare l'editore di questa registrazione ma non trovo nulla, qualcuno di voi ne sa qualcosa?

Questa è la descrizione di chi ha uplodato il file. Inserisce anche un post pubblicato da Angelo Gilardino in una newsgroup di chitarra. Invito il Maestro a verificare se sono davvero sue parole.

 

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"Ida Presti plays "Guajira" by Emilio Pujol (1882-1980).

If you concentrate on the music you will hear superlative guitar playing. Nothing is missing here. A reference in: tone quality, intensity, phrasing, rythmic vitality and dynamism,sustain, great vibrato sound, colours and character. Plus a unique quality in the pizzicato where the sound although damped is still resonant with harmonics.

Recorded in France in the 1950's.

Want to know more about Ida Presti? Please read this:

Written by Maestro Angelo Gilardino on the classical guitar newsgroup on Saturday, May 22, 2004 9:18 PM

 

She was the greatest firstly and simply in terms of her skills with the

instrument: she could do with fingers things that no other guitarist could

do. Her hands were phisically "different" (by nature and for having been

manipulated by her father since when she was a baby). She produced the

loudest, roundest, fullest, tone ever heard: only Lagoya - since when they

met and formed the duo - could match her, and only in certain situations.

The tones she produced in certain recordings of the duo ("Goyescas" by

Granados, just to give an instance, but one could add many other examples)

is the best tone I ever heard from a guitarist - and I listened to all of

them who gave concerts after my birth - and she could produce a variety of

tones, with a correspondent amplitude of dynamic range, that nobody else has

matched so far. She could play a sort of "legato" unique to her playing,

and to nobody else's playing. Her vibrato - still documented in the duo

recordings, take for example the "Adagio" by Albinoni-Giazotto - is still

above anybody else's possibilities. She was - simply - unmistakable. I never

heard a wrong note from her. Jack Duarte, who was a strict friend of hers,

can witness that in the hundred times he listened to her practicing, he

never heard one single mistake from her. Her virtuosity - a stunning one -

has been matched by several players nowadays, but at which price, in terms

of sound, expression, etc.? Consider that, after her severe training during

her childhood, she did not practice very much, her life being spent mainly

in travels and concerts..,But all of this prodigy was serving the most

important purpose: she was a marvelous musician, with a direct, immediate,

unabriged vision of the music. Her drawing rhythms, melodies, voices in

counterpoint, chords, was simply perfect. She played so well, that you

couldn't realize she played well, because you received the music in such an

accomplished way that you were allowed to forget she was playing an

instrument, and that she was skilled. Her skills disappeared with her doing

the music. Her fellows, in the heavens of 20th century interpreters, are to

be sought outside guitarists: I would say Dinu Lipatti, and only a few other

ones."

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