𝘕𝘢𝘳𝘤𝘪𝘴𝘰 𝘠𝘦𝘱𝘦𝘴 ♫ 𝙏𝙑-𝘾𝙝𝙖𝙢𝙗𝙚𝙧 𝘾𝙤𝙣𝙘𝙚𝙧𝙩 • Germany 1973 ♪ 10-string guitar • 𝘠𝘦𝘱𝘦𝘴 𝘦𝘯 𝘈𝘭𝘦𝘮𝘢𝘯𝘪𝘢

[@10String]

Programme: 00:07 - Intro 01:01 - Fantasía X (Alonso Mudarra) 05:26 - Gallarda y villano (Gaspar Sanz) 06:20 - Rujero y paradetas (Gaspar Sanz) 07:29 - Passacalle (Gaspar Sanz) 09:24 - La miñona de Cataluña (Gaspar Sanz) 10:34 - Canarios (Gaspar Sanz) 13:30 - Interview (Part 1: Re Sanz, practice, and Mudarra) 17:00 - Homenaje (Manuel de Falla) 21:09 - Interview (Part 2: Re teaching and the 10-string guitar) 24:51 - Passepied (Salvador Bacarisse) 27:01 - Interview (Part 3: Re his teachers and development as musician) 29:52 - Prelude no. 1 (Heitor Villa-Lobos) 34:20 - Interview (Part 4: Re being open to learning from [non-guitarist] musicians) 35:27 - Étude no. 1 (Heitor Villa-Lobos) [from here on the audio source was particularly degraded and restoration less successful] 37:10 - Étude no. 7 (Heitor Villa-Lobos) 39:19 - Étude no. 11 (Heitor Villa-Lobos) 43:00 - Étude no. 12 (Heitor Villa-Lobos)

[@heinznachbaur9895]

A. Segovia, N. Yepes, J. Bream, J. Williams diese Pioniere waren die größten ihrer Zeit. Ihnen haben wir vieles zu verdanken!

[@tasmedic]

Thank you for bringing a maestro back to life. I was in my teens when I saw Yepes play live at a local school. In those days I was a fan of John Willams, who was, and remains, very technially adept. However, I've always had a soft spot for Yepes, and his ability to interpret pieces, bending them to his personality, whilst not always being to the exact measure of the piece played. The question and answer sessions in this presentation were very telling. It's clear that Yepes finds expressing one's personality when playing at least as important as playing every note perfectly as written. In other words, the player should be encouraged to bring his soul to the music, rather than just slavishly playing what's written. As I age, I agree more and more with this sentiment. Requiescat in Pace, maestro.

[@10String]

Thank you very much. Related to this topic (i.e., the section at 22:05), these 2 references are also telling: Narciso Yepes wrote about Fritz Buss in August 1961: "Teaching is for me a great pleasure when I find a pupil of intelligence, who assimilates my conclusions with his own knowledge, developing his own personality...." And Dietrich Wagner later wrote about his teacher: "It is one of his qualities as a born teacher that Fritz Buss encourages his students to become individuals and to express themselves on the guitar in their own way. He is quick to spot a particular gift and to encourage a pupil to develop this ability to the full."

[@kookiemonster7994]

Thank you for putting this up. This is music history.

[@ursulazangl1655]

Narciso Never lost his calmity.He remained himself without Cutting down others.Because he had a fine Character.He didnt make others little to be Greater

[@10String]

Lo que dices no es la verdad. Narciso no hablaría mal por voluntad propia. Fue durante una entrevista. El entrevistador tuvo la imprudencia de preguntarle a Narciso su opinión sobre la grabación del Concierto de Paco. Narciso era un hombre honesto, un hombre íntegro, auténtico. No iba a elogiar algo sin sinceridad. Tampoco tuvo la malicia de criticar excesivamente a Paco (como afirmas falsamente), ni la necesidad (el ego) de elevarse al hacerlo. El hecho es: el entrevistador lo puso en una posición injusta; respondió lo más breve y honestamente posible, sin falsedad ni malicia. Notó la fealdad de la calidad del sonido de Paco. Esta no es una crítica excesiva. Es una declaración de un hecho empírico. La calidad del sonido de Paco no tiene ni el refinamiento que espera un músico clásico, ni el que exige una obra de música clásica. Me atrevo a decir que tampoco es tan buena como la calidad del sonido de los verdaderos (no comerciales) maestros del flamenco: una concepción de la belleza sonora que es diferente a la de la música clásica pero sigue siendo buena.

[@Ponsdaniel]

Interesante formato el de concierto/entrevista. Poco o nada así se hace hoy en día. Bastante interactivo con el público. Me gustó la técnica del cromatismo con un solo dedo en la obra de Bacarisse como el explica en otros lados, y las escalas de la misma obra.

[@10String]

This was a particularly difficult restoration. The sources available to me were both significantly degraded. One had less terrible sound but worse video quality. The other had slightly better video but unlistenable audio; it was also missing a section at the beginning of the programme as well as some of the interview in the middle. I had to piece together the least objectionable of what was available and restore the audio-visual quality as best I could. Perhaps someone more knowledgeable about such things than myself could have done a better job of it or some details could have been improved, if I'd spent hundreds of additional hours on it, but I've spent as much already and cannot afford to spend more. I should point out: 1) Yes, there are still some minor sync issues owing perhaps to someone mucking about with the frame rate or because some frames have been lost. I don't know. But the picture and sound just don't want to sync properly, no matter how I adjust them. 2) Having to de-flutter the damaged audio resulted in some odd, microtonal slides on some of the slurred grace notes in the baroque pieces. 3) The 'better' audio track I had to work from was damaged beyond restoration in the Villa-Lobos pieces, with several gaps in the sound. I've had to switch to the poorer but more complete audio for the Villa-Lobos Studies. This is the reason for the tinny tone quality there, which should not be a reflection on Yepes's incomparably well-controlled tone production. 4) A compromise had to be reached between noise reduction and the preservation of tone quality. There's still some noise here and there. To remove it all would do more harm than good. At least, I think, we have a listenable (and complete) version of this programme for the first time in several decades.

[@arnhemseptember2009]

You did an absolutely outstanding job. People have no idea how difficult it is to restore almost lost documents like this.

[@10String]

Thank you so much. The 'original' document that you can find elsewhere on KZbin is (to me) unwatchable, the sound quality is so badly damaged. Whether the (original) master tape still exists somewhere in a German archive is not even certain at all. So, without my intervention, what's the alternative? People listen to a few seconds of the damaged document, uploaded several times already elsewhere on KZbin, and get left with a poor impression of the artist due to no fault of his own. These restorations are not perfect; they cannot possibly be. (You can smooth out the old tape flutter or you can remove noise, but you cannot bring back desirable tone qualities once they have been lost/distorted.) But these restorations were a labour of love that I did with the greatest care I could give them, at that time, while still learning (teaching myself) how to make such restorations. Yes, it is a lot of work to restore damage to the video tracks and even more work (a lot more) to restore the damaged audio. Hundreds if not thousands of hours of labour for the various restorations I've uploaded. Because these artists deserve better than having the broader scope of their work forgotten, or just copied from damaged documents and re-uploaded in worse and worse quality that only gives a poor impression of their work. Thank you for understanding.

[@tasmedic]

A wonderful restoration. Your time was well spent. I loved every minute and the interviews were as good as the pieces played. Thanks ever so much for doing this. Yepes was one of a kind, and your homage to him is appreciated.

[@SukerokuZ]

I sincerely appreciate the effort of a real Craftsman in the restoration of this piece. It's completely understandable that we can't demand 4K quality and FLAC audio quality. Excellent work 👍

[@mx7079]

A great thank you for your time and effort to keep the memory of Narciso Yepes alive. I would also be very interested in his nail shape and the action of his right hand.

[@10String]

You are very welcome. There will be videos on such and related things in future.

[@StuartwasDrinkell]

Awe! 😮 @ finger independence! Just wow😮

[@10String]

I have to make a correction or, at least, put a question mark to something I clarified in parentheses, at this moment in the interview: kzbin.info/www/bejne/eILZgaV3dqmgm5Y I admit my haste in assuming that by his three guitar teachers Narciso meant Josefina Robledo, Estanislao Marco, and Rafael Balaguer. Certainly, Robledo and Marco (pupils of Tárrega), yes. Those were two of his guitar teachers. And certainly the amateur guitarist Rafael Balaguer was someone who helped him and introduced him to various musicians, though not a teacher per se. But I forgot that somewhere he mentioned his first guitar teacher in Lorca as a man by the name of Jesús Guevarra. Anyway, I thought I should make this amendment and now it has been made.

[@ursulazangl1655]

These pieces are so beautifully played

[@roarelectra]

Wow. Another well conceived restoration. Must have taken months...

[@10String]

For comparison: The crud with which we started: Sanz: kzbin.info/www/bejne/kInSk3eqrLJmmqM Falla: kzbin.info/www/bejne/Z4epn4V3g558lck The restoration: Sanz: kzbin.info/www/bejne/eILZgaV3dqmgm5Y Falla: kzbin.info/www/bejne/eILZgaV3dqmgm5Y The studio recording: Sanz: kzbin.info/www/bejne/goXLZ3R7dtuSsMk Falla: kzbin.info/www/bejne/eHS8gaJ4q8ypb5o

[@PedroGarcia-ld5bj]

Muchas gracias!!!

[@ursulazangl1655]

I have a Great appreciation för him aß he was as person.un gentilhombre aß well

[@aluisiolaurindojr]

Thank you very much!

[@10String]

Welcome!

[@АндрейШаталов-э2с]

ИГРА ПОХОЖАЯ НА ЛЮТЬНЮ ОЧЕНЬ ИНТЕРЕСНО СПОСИБО

[@bertovessada5453]

Unica!

[@ursulazangl1655]

Thanks för this super video

[@10String]

You're welcome.

[@italoolivatamburello3149]

🤝

[@ursulazangl1655]

It created pressure on People so Kreativität cannot flow anymore

[@ursulazangl1655]

How were international courses done

[@10String]

Live, in person, as for example the master classes that Narciso gave in Paris in 1975, where Fritz was invited to be his teaching assistant.

[@ursulazangl1655]

Yes,thanks.🙂

[@ursulazangl1655]

In which town did this Take places.southern Germany..

[@10String]

I don't know. Apparently Südwestrundfunk had TV studios in Baden-Baden and Mainz.

[@ursulazangl1655]

@@10String ok.danke!

[@ursulazangl1655]

Pressure and Control Everywhere so that you Cant breathe in fresh air anymore.a cage of how One has to do Or has to be

[@ursulazangl1655]

Everywhere you Can find instructions on how to get perfect results.Perfect looking,perfect Make-up,perfect Health,perfect Outfit etc.etc.

[@ursulazangl1655]

So much jealousy Everywhere, and the main question:WHO IS THE BEST.

[@ursulazangl1655]

Thanks God Yepes dared Not to be "perfect"

[@ursulazangl1655]

We are the "perfect" Generation.over decorated.artificial cages created by People. You look "perfect" tonight aß Ed Sheeran sings