El sueño de la razón produce monstruos - Mario Castelnuovo-Tedesco played by Sanel Redžić
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- čas přidán 22. 05. 2020
- This is my interpretation of one of the most beautiful and at the same time most difficult pieces I've ever played...
From XXIV Caprichos de Goya
Number XVIII: "El sueño de la razón produce monstruos"
Played by Sanel Redžić
Guitar by Otto Vowinkel (2004)
Recorded, edited & produced by Sanel Redžić
Recorded in Schottenkirche Erfurt in July 2017 - Hudba
I have to confess that this is one of the most beautiful and at the same time one of the most difficult pieces - both technically and musically which I’ve ever played.
First time I heard it when I was 11. It was in the time when I was starting to learn guitar in Bosnia and Herzegovina. It was on one cassette tape which I got from my guitar teacher by that time. As it was a mixture of „the best of classical guitar“, which my teacher made for me (together with Asturias, Sevilla, some Tarrega music), I didn’t know anything about the piece. Years later I figured out that it was played by Eduardo Isaac.
But what I knew all the time is that I wanted to play it one day. In 2012 I discovered it again and started to work on it but at the first variation already I noticed how difficult it is to read and to make it work and sound. So I tried to find solutions for the fingerings with my teacher in Weimar - Ricardo Gallen and we figured out that it is impossible to play everything as it is written - not to sacrifice notes or chords and that it would be a lot of work and practice so I gave up…
In 2013 or 2014 guitarists started to play it more and more (I think it was a set piece for GFA) so I decided to give it a second chance. By that time I remember that I was already in my Konzertexamen studies and I spent several hours of studying and finding proper fingerings together with my teacher Ricardo Gallen. We didn’t want to cut any note and the only imperative was „I have to make it work“. After some barres with my left hand's thumb or some nose flageolets, I had finally „playable“ fingerings and I was so happy to share the music with my audiences at concerts.
In 2017 I recorded it in the Schottenkirche in Erfurt - where I recorded many of my recent videos but I never had time to listen to it and to edit it. Finally, I had time this week to sit down and make a video which I am sharing today with you.
El sueño de la razón produce monstruos or The sleep of reason produces monsters is one of 24 Caprichos which Castelnuovo-Tedesco wrote inspired by etchings of Spanish painter Francisco de Goya.
In times like these we need to wake up from sleeping and start appreciating what we have around us - without fear, but with hope.
That's a quite interesting story of how you got to play this marvelous music. Thanks a lot for both sharing the story and the music. Bravo!
Is the thumb on the left hand making notes at 1:40? This is surreal. It's unbelievable. I had only seen J. Hendrix do this, on the sixth string.
Tales Hemann
Yes, it is making. I am pressing barre with my thumb there. :-)
Playing guitar for a long time and I always found this composer hard to access but you really made me “get it”, thank you for that! Man, I compose here and there, wish you could bring my stuff alive like that!
Nice history behind the music, thanks for the feedback.
Magnifique interprétation d'une oeuvre pour guitare , certes pas facile à jouer! Mais grande richesse harmonique! avec une profondeur mélancolique et colorée d'arpèges et d'accords...;-)
You make everything seem so easy and yet full of strong emotions. I really admire that!
Hi Sanel
I only came across your channel today having never heard your name before. I am from the UK and played classical guitar all my life since 14, I’m 75 now. I studied with Hector (Bill) Quine in London and with Segovia in Sienna in the 60s and was professional for some years. I listen and watch many guitar players, most of the modem players really don’t make a very good sound. But you DO get it and I’m so impressed with your playing. It’s not just technically good but you really understand the music, I have been quite depressed with must I have seen as there seems a emphasis on playing fast and furious which is not that hard to go, but no musicality which is sad. Anyway best of luck and if and when you come to the UK, I would be pleased to come and see you play.
Hats off to you, Sanel, for this highly reflective and entirely satisfying performance.
Incredible achievement to play all of the notes that Castelnuovo-Tedesco intended and so beautifully. Bravo! So happy to hear you're one of Ricardo Gallén's students. Cheers!
You are a great musician!
One of the most beautiful guitar performances I've ever heard. Masterfully done.
06:38 Castelnuovo-Tedesco’s spirit has just entered in the church to say: Good job Sanel! 👏🏼 😄
I had a look at this piece several years ago and thought "well, I'm going to have to basically rewrite this, it's impossible to play as is." What you have done here is a triumph my friend. Truly inspiring.
Hermosa ejecución de esta gran obra del Maestro Castelnuovo-Tedesco.
Blown away by your technique and mastery of this magnificent piece of work, Sanel!
Has far has I know, this is the truest interpretation that I've heard. You really capture both the essence of Goya's painting and Tedesco's vision of it. You were not another hostage of this music sheet. You made the poetry of this masterpiece apear and vibrate with an outstanding echo.
My sincere congratulations. With all my heart, thank you.
Of those composers (Ponce, Tansman, Torroba, Castelnuovo-Tedesco, Villa-Lobos, et. al) who wrote pieces for Segovia, his favorites (based on the number of his recordings of their works) are first Ponce and then Castelnuovo-Tedesco (CT) and, I’d venture to say, sharing 3d place, Tansman and Torroba. Segovia didn’t record much Rodrigo (except the Fantasía and a few pieces - maybe because of the Aranjuez issue) and he didn’t like, (based on his correspondence with Ponce), with few exceptions, Villa-Lobos very much. Of all these composers, only Villa-Lobos and Rodrigo would appear among the 20th-Century’s big names. The rest are the central, major and canonical names only for the classical guitar. But rankings are irrelevant where art is concerned, and the fact that these composers chose to write for the guitar ensures them a lasting place in musical history and among audiences. Arguably, if this same music had been composed for the piano, it would probably have been practically forgotten.
Of the aforementioned group, CT is by far the most prolific. His particular musical language and harmony (conservative, 19th century, but without sounding 19th-Century-ish) has enriched the guitar repertoire and filled a transitional gap (between late Romantic and the 20th century) in an idiom well suited to the guitar’s possibilities: just as there is that unmistakable Ponce “sound”, we immediately recognize CT’s unique musical signature: rich and dense harmonies, absolute craftsmanship and mastery of traditional forms, contrapuntal writing and a particular penchant for memorable melodies (such as in this piece). Yes, he was a traditionalist, a composer on the fringe if we compare him, say, to Samuel Barber or William Walton (major neo-romantic composers, but whose harmonic language is much more modern than CT’s.)
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Mr. Redžić’s notes here are very enlightening regarding what is, arguably (IMO), alongside the Sonata, his greatest guitar work: comparable in quality to Ponce’s longer Folía variations. The difficulty here is CT’s complex not-idiomatic writing (was he thinking this out at the piano? El Sueño seems to demand the independence of a keyboard player to pull off the contrasting left-hand lines (they are possible, sure, require some editing, sure…but how to transcend the enormous difficulties and, at the same time, make real music of the score?) This is CT’s unique voice: there are no “guitarisms” or facile harmonies in his writing whose technical demands alone are enormous.
The difficulty in El Sueño is exactly where Mr. Redžić’s talents lie: perfect legato (this is the “technique” of all techniques that turns the nice sounds into real music). It is not just about being able to pull of the piece technically, but to perform it with such tremendous musicality, flow, dynamics, coloring and phrasing as Mr. Redžić’s does here. This is rare. While there are other (not many though) very fine performances of this piece, Mr. Redžić’s is a benchmark and shows what a wonderful composer CT is.
Having watched many of his masterful performances, I am convinced that he is first a great musician in a way that his technique never aims at mere display (“Look how clean I can play these lines” or “My tone is robust and perfect” or “My scales and arpeggios are crystal clear”, etc., etc.) but is rather always expressing the musical ideas. He is a musician and a great artist first…whose instrument just happens to be the guitar. Even today among so many young technical wizards, it is very rare for us to be impressed musically rather than by the perfect technique: Mr. Redžić makes me think of the great masters of other instruments - one just takes their perfect technique for granted because the pure music they express effaces any thought of technical prowess. As for guitarist, Mr. Redžić brings together Bream’s fiery passion and intensity, Segovia’s orchestral colors, the lushness of Christopher Parkening sound, the warm tone of David Russell, the technical perfection of John Williams and the crystal clarity of Manuel Barrueco.
And in this way, Mr. Redžić blends the best of the guitar’s tradition and establishes himself as one of the most unique musicians of our time among the legions of current guitar virtuoso (no shortage nowadays). Guitar technique has indeed evolved over the decades since Segovia, but the challenges of being first a musician and second a guitarist will forever remain.
In this sense, Mr. Redžić is an original among his contemporaries, one of the rare great artists who also happens to be a guitarist.
Although I agree with the sentiment of your comment in regards to the awsome interpretation of Mr. Redžić, I believe calling Ponce irrelevant where art is concerned is a ridiculous statement. Jascha Heifetz used to play his own arrangement of estrellita as an encore to his concerts and even called it one of his favorite pieces. His symphonic poem "Chapultepec" was premiered by Stokowski. His intermezzo is regularly played and has been recorded by pianist such as Cyprien Katsaris and Lang Lang. He is the composer of "las mañanitas" which the most sang mexican folk song ever written. And there´s an auditorium with his name the Palacio de Bellas Artes in CDMX as well as in practically every other consevatory in México. And all of this is ignoring his enormous contribution to the repertoir of the classical guitar. Thinking that "if this same music had been composed for the piano, it would probably have been practically forgotten." is crazy talk. Him and Tansman weren´t even guitarists but pianists and conductors who happened to have Segovia comission music for him.
Thank you for that fine assessment ...
@@mattg.3550 Agreed: Ponce is a true composer who joins perfect musical knowledge with the heart. His music beyond the guitar repertoire is awesome, but it, like CT here, is somehow overlooked in classical music writ large. Personally, I love his music and the "canonicity" wherein is not important. Thank you for your rectifications!
@@mattg.3550 We need to listen to Tansman, Ponce's and the works of others who are mainly known through their guitar works. Turina, Tansman, Ponce et. al. WERE previously much more important. Unfortunately, repertoire performed may be determined only by what critics and scholars say. These composers were giants, but alas, time reduces most of human art to oblivion until a rediscovery by listeners (or readers...take the case of the novel Stoner, by John Williams...there are many examples of this, of shifitng sensibiiities and canons rhat vary in all the arts).
Nowadays is uncommon to see virtuosos playing passages slow. Loved how you took care of the chords in the beggining. Beautiful performance
This is, no doubt, a masterly guitar performance. Breathing... and birds sounds (0:40) contribute to create an special atmosphere, a fantastic journey through emotions. Thank you so much Sanel!
Incredible performance. Bravissimo
Great performance!
Congratulations. Must be the best "live" performance of this amazing piece I ever heard. It's a true gem of a composition and I guess seldom performed, because it's crazy difficult.
Thank you Sanel. Your work is very musical and expressive. I think that this opening, as for example, the Scriabin Variations opening (single melody line)...is a difficult one, it demands to express music with care and tact. You made it sublime.
Played brilliantly Sanel! Thank you.
Preciosa interpretación,muy emotiva.
Beautiful . . . love the tempi and dynamics, you bring out harmonies that are often glossed over
Bellisimo!
Yes, this piece of M.Castelnuovo Tedesco is hauntigly beautiful ! Bravoo !!!
Wow! Me encantó. Gran interpretación.
🔥💓🔥poetry, as usual ...what a masterpiece! Gorgeous playing, Sanel, you're a great musician!
Great and colourful playing. Thanks!
Beautiful.
Bravo, Sanel! Beautiful music indeed, played with much feeling.
My respect!!!
AMAZING--PERIOD!!!
Just perfect 👌
Breathtaking, maestro!
Brilliant and masterfully done. Please included this beautiful creation on your next CD..Thanks for your many inspirations ~
Your sound is one of the best I’ve ever heard. Amazing interpretation!!!!!
Extraordinaire!
Beautiful performance.
COMPLIMENTI MAESTRO PER L'ESECUZIONE PERFETTA DI QUESTO BRANO:SUONO BELLISSIMO E GRANDE TECNICA
Bravisimooo!!
AUTHENTIC & so DEEP, I feel elegance everywhere Sanel 🌺 I thank you SO MUCH for this fantastic emotional moment 🙏
Thank you 🌺 keep up creativity Sanel👏!!!
Eccellente
Bravo!
Thank you sanel on this part music
Your performance is great! And yes, first variation is a challenge to all classical guitar world, because composer's mind was beyond guitar borders, position, fingering, and to play it as it is written is almost impossible, even on my 8 string guitar, where first string is A. Good luck!
Thank you.
Great!
magnifique piece!!!!!! et interpretation parfaite bravo la guitare n'a plus rien à envier aux autres instruments!!!
So nice and beaitiful👍
Incrível.
right thumb is just, wow. Very soft with the strings
Bravissimo!
Muy bonita interpretación
❤Bravo!!!
Bravo Sanel! Man this looks painfully difficult!
Thank you! Yes, it is... 😊
Oh divno divno
😃
😍😍
In impressed by your musicality and your technique. Your expression with dynamics is brilliant! What drives you forward?
Best regards
//Tobias
I never like tedesco .. but your playing is great and very sensitive! 👍👍
What strings were used? Excellent interpretation, amazing piece.
this is the Goya painting that apparently inspired the composition en.wikipedia.org/wiki/The_Sleep_of_Reason_Produces_Monsters
Bravo!!!! Pls kindly advice to find notes tabs of this fantstic piece.
Amazing technique 1:41
Bravo !