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Anna Pietrzak
Canada
Приєднався 15 лип 2009
24 Preludes by Manuel María Ponce
24 Preludes by Manuel María Ponce/ed. by Miguel Alcázar
Recorded in August 2021 in Vancouver/ Canada
Video/audio recording: Jordan Nobles
Video/audio editing: Anna Pietrzak
Sound post production: Felix Salazar
Guitar by Steve Ganz www.ganzguitars.com
www.annapietrzak.com
00:00 Intro
0:09 C major
1:36 A minor
2:05 G major
2:40 E minor
3:02 D major
3:53 B minor
4:43 A major
5:35 F-sharp minor
7:26 E major
8:09 C-sharp minor
9:08 B major
9:59 G-sharp minor
11:09 F-sharp major
12:24 D-sharp minor
13:12 D-flat major
14:23 B-flat minor
15:11 A-flat major
15:54 F minor
17:06 E-flat major
17:43 C minor
18:36 B-flat major
19:22 G minor
20:05 F major
20:51 Chant populaire espagnol
In his preface to the Tilman Hoppstock edition of Ponce’s 24 Preludes, Angelo Gilardino writes about Ponce’s intense working relationship with Segovia in Paris. He writes about the “affectionate tyranny” the great guitarist exerted on Ponce, in a series of “nagging requests” for new works.
On top of an insatiable appetite for new compositions from the composer, Segovia even described the characteristic of the compositions he had in mind in great detail. So precise were Segovia’s requests, Gilardino adds, “We wonder why he (Segovia) did not compose them himself.”
Ponce heeded Segovia’s many requests in his compositions of the Sonatas, Variations and Suites. Only in one instance did the composer deviated from Segovia’s directions. Gilardino writes, “We do not know whether this was a deliberate gesture or the result of a misunderstanding, which fortunately for posterity had very happy consequences.
Probably as a result of the publisher’s pressure, Segovia decided to pen a method for guitar, and he again turned to Ponce for some miniatures to be composed for his pedagogical project. The result of this request is this 24 Preludes, which he composed between 1928 to 1929.
In these 24 preludes, Ponce’s idea was to create a pedagogical cycle of works written in a different major and minor key. Only twelve preludes were published in 1930, and was, at the time, edited by Segovia.
It was not until 1981, when Tecla Editions in London published these Twenty-four Preludes for Guitar (edited by Miguel Alcázar), that the artistic and pedagogical importance of these works were firmly established. With access to Ponce’s manuscript, Alcázar recovered the autograph texts of 23 preludes. In his edition, the one missing prelude (G major) was replaced by a short work of vocal polyphony discovered among the composer’s archives. A new publication of the 24 Preludes, made by German guitarist Tilman Hoppstock was published last year.
Text prepared by Patrick May
Recorded in August 2021 in Vancouver/ Canada
Video/audio recording: Jordan Nobles
Video/audio editing: Anna Pietrzak
Sound post production: Felix Salazar
Guitar by Steve Ganz www.ganzguitars.com
www.annapietrzak.com
00:00 Intro
0:09 C major
1:36 A minor
2:05 G major
2:40 E minor
3:02 D major
3:53 B minor
4:43 A major
5:35 F-sharp minor
7:26 E major
8:09 C-sharp minor
9:08 B major
9:59 G-sharp minor
11:09 F-sharp major
12:24 D-sharp minor
13:12 D-flat major
14:23 B-flat minor
15:11 A-flat major
15:54 F minor
17:06 E-flat major
17:43 C minor
18:36 B-flat major
19:22 G minor
20:05 F major
20:51 Chant populaire espagnol
In his preface to the Tilman Hoppstock edition of Ponce’s 24 Preludes, Angelo Gilardino writes about Ponce’s intense working relationship with Segovia in Paris. He writes about the “affectionate tyranny” the great guitarist exerted on Ponce, in a series of “nagging requests” for new works.
On top of an insatiable appetite for new compositions from the composer, Segovia even described the characteristic of the compositions he had in mind in great detail. So precise were Segovia’s requests, Gilardino adds, “We wonder why he (Segovia) did not compose them himself.”
Ponce heeded Segovia’s many requests in his compositions of the Sonatas, Variations and Suites. Only in one instance did the composer deviated from Segovia’s directions. Gilardino writes, “We do not know whether this was a deliberate gesture or the result of a misunderstanding, which fortunately for posterity had very happy consequences.
Probably as a result of the publisher’s pressure, Segovia decided to pen a method for guitar, and he again turned to Ponce for some miniatures to be composed for his pedagogical project. The result of this request is this 24 Preludes, which he composed between 1928 to 1929.
In these 24 preludes, Ponce’s idea was to create a pedagogical cycle of works written in a different major and minor key. Only twelve preludes were published in 1930, and was, at the time, edited by Segovia.
It was not until 1981, when Tecla Editions in London published these Twenty-four Preludes for Guitar (edited by Miguel Alcázar), that the artistic and pedagogical importance of these works were firmly established. With access to Ponce’s manuscript, Alcázar recovered the autograph texts of 23 preludes. In his edition, the one missing prelude (G major) was replaced by a short work of vocal polyphony discovered among the composer’s archives. A new publication of the 24 Preludes, made by German guitarist Tilman Hoppstock was published last year.
Text prepared by Patrick May
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Good interpretations....bravo.
❤very very exceptional ❤❤❤❤😮😮😮ohhhh
Incrível.
SUBLIME! Both the writing by Assad and the execution by Anna Pietrzak! Thank you!
Bravissima!!😅
You played 24th with gusto! I really hear it fresh!.. Bravo and thank you!
Прекрасная игра🎉
Thanks for all you❤
Beautiful music performed by a beautiful lady written by a gifted man. Thank you Anna.
Thank you 😊
I used to play these pieces, but not as well as you. Thank you 🙂
Sounds so beautiful thank you for blessing my day 💘
composer's name pls
Hans Haug
I've been listening to these Preludes for decades -- the first 12 since college in the 70s. They've been absolute favorites of mine since the first hearing (John Williams doing the 12 and some Torroba on an album) -- they were the first pieces that made me love classical guitar. They were among the first that I tried to play when I began to learn. I've heard dozens of great players perform them since that first album (and I had since seen Williams do them live). Some are "desert island" pieces for me. Some I've liked -- a little less; and a few I didn't really care for. But hearing YOU interpret them, it's like I've never heard them before! Ones that just didn't attract me I finally really hear, 50 years later, and they are now favorites. Some of the ones that were already my most loved pieces in the world, I just burst out laughing at how wonderfully different and fresh and new they are to me now and I hear so much and so many nuances that I just never picked up before just because of how you phrase them and relate structures that I just hadn't related before: I see their structure in a way *no* guitarist has made me see them before in all these years. Now my old favorites are now dazzling NEW favorites. I could never be "bored" with the Ponce Preludes, but I did think I had heard everything there was to hear in them since that first time in the dorm room at 17. Now, at 71, you have given me 24 NEW PONCE PRELUDES and I love all 24! I can't tell you what that means to me or how to thank you for this splendid gift. Just know that I'll listen to your interpretation and superb playing a dozen times and I hope it will be enough to say that now, after years, I can't wait to grab my old Ramirez and get to know them again as if for the first time. I don't have words to give you higher honor than that.
Thank you so much for such personal touching feedback. I'm so glad that you enjoy them. These little compositions are like microcosm. Everything is included in them. All the best to you and your Ramirez 🤗
@@annapietrzak1 I concur with @googiwaumer I've worked on a couple of these in the past but didn't really understand what they were trying to convey. Back in college, as a music major, I had to learn all six of the Easy Preludes by Ponce, which is when I first discovered his works. Ever since, I've been listening to his music. Being that I am also Mexican, like Ponce, I'm often trying to add some Ponce works into my performance repertoire. Unfortunately, some of his works I just can't get into, such as some of these preludes. However, your interpretation has given new meaning to the 24 preludes. You've given me new inspiration to work on these preludes, especially since I get a better understanding of how to interpret them, thanks to you. You've got a great gift and I'm very grateful for the work you've done with these preludes.
En general, bien ejecutado, pero se nota que a la guitarrista se le atragantan algunos pasajes (falta ensayo) y tampoco me convencen ciertas resoluciones estrictamente estilísticas, como algunos ritardando que no figuran en la partitura original. La introducción también va un pelín rápida. Buen trabajo, no obstante... es una pieza preciosa. Creo que les luciría más con un clavicémbalo o una espineta, en vez del piano. Gracias por el vídeo.
A tempo, please.
Excelente interpretação dessa sequência de prelúdios - "essas pequenas pérolas sonoras" - de Manuel Maria Ponce. Você soube envolver cada peça com um sentimento único, autêntico, fazendo com que cada prelúdio soasse como uma bela paisagem... Muito bom!... Parabéns e sucesso!👏🌹
Thank you 🤗
Exquisite playing ❤👏🏽
Sublime!
Beautiful 👌🏻‼️
Thoroughly enjoyable reading of the beautiful miniatures! Thank you!
Such a treat to meet you in person today, Anna. I look forward to hearing you next Thursday.
It was wonderful to meet and speak with you, Joyce. See you next Thursday 🤗
Me puese a escuchar otros videos y encontré que todo el canal tiene hermosas interpretaciones y un exquisito gusto. Gracias Anna Pietrzak. I listened to other videos and found that the whole channel has beautiful renditions and exquisite selecton and taste. Thank you Anna Pietrzak. (A new subscriber)
Thank you so much for exploring my channel. All the best !
Qué buena presentación del material. Chapeau para el canal. What a great info about the pieces. Chapeau to the channel.
Bravo 💐.
m.youtube.com/@annapietrzak1
❤ Pas nombreux les guitaristes qui savent jouer ça comme elle ! 🎉
Masterully plaued 🥰🙏🙏🙏
guitar duet -- anyone?
the magic touch, love it.
Obrigado.
Although harpsicord would sound better, this an excellent performance. Carl doesn't overpower. Really world worthy recognition musicians.
Thank you, Jacek
This is really mesmerizing. Great sound quality recording and very refined guitar playing.
I was also impressed with the quality of the recording and of course the work of the sound engineer. Nice guitar too, a double top I think. I loved the pieces, they flowed like a spring river under the señorita’s deft fingers
yummy beyond words
Guitar Goddess
Extreme musicality and great technical command.
brawo Anna !
There is a couple of virtuosos here on UA-cam that were unable to give justice to this wonderful music. Your version shines. Sergio Assad is still underestimated compared to other major guitar composers.
Thank you very much. I'm happy that you enjoy it.
Anna, I'm so grateful that you recored these. I've bought the sheet music and am trying out #2 and #3 on piano, to my fingers #2 feels like a Bach "two part invention" though I love the Assad chords and rhythm even more, and #3 well I'm struggling but its too fast for me, maybe in another lifetime !, same with #6 !, in the meantime I also bought the sheet music for Valseana and that's another that's slow enough for this amateur old timer !
I'm happy Peter, that you start to explore Sergio Assad music.Wishing you all the best!
Very nicely played. I also like the pitch black background and the dark sacks and flowery blouse complimented by a lovely woman with an exquisite looking unique guitar. The setting is a work of art to frame a lovely performance.
Belissimo!
This is so amazing. I just wanted to let you know that I have had to keep coming back to this and listening. It's such rich piece and you are an amazing performer. Bravo!!
Thank you . I'm happy that you enjoy it. All the best 🤗
I just found my new, favorite Assaad piece. I love Aquarella as well. His music is just so difficult!!
Beaucoup de sensibilité et de personnalité, bravo c est une douche fraîcheur en canicule !
too "Breva" !, these are so beautiful I'm always wanting them to last longer !!!
WOW!, WOW!!, and WOW!!!, only recently became aware of Sergio Assad's music, and only just now stumbled into Anna Pietrzak, I've listened to this more than "seis" times in a row now getting to know it !!!
and then there's that smile at the end 🙂YEAH !!!
Fantastic.
Beautifully performed. Enjoyed it!
美しいタッチ クリアなサウンド