Фортепиано и гитара

[Николай]

Здравствуйте!
Подскажите, пожалуйста, какие произведения созданы для гитары и фортепиано. Вообще, что можно поиграть этим дуэтом. Если вы знаете, где в интернете можно скачать ноты, то оставьте, пожалуйста, ссылку. Большое спасибо.

[Vad]

В 19 веке сочинено не менее 400 произведений для фортепиано и гитары. В то время это был очень популярный состав благодаря совершенно иной конструкции и звучанию фортепиано.
Среди композиторов:Диабелли, Джульяни ,Каркасси ,Карулли, Мертц, Граньяни, Амон и другие менее известные.
Концерты для гитары оркестра Джульяни существуют, например, в обработке Диабелли. А что за уровень обработок легко представить. Диабелли очень хорошо знал Бетховена, был основным издателем Шуберта (если не ошибаюсь).
Если интересно, тему буду развивать.
Данной областью наши гитаристы, по-моему, не слишком интересуются, исполнение этой музыки требует вкуса, интеллекта и еще кое-чего, чем они обделены. Извините, много "общался".
Полька Соколова, Орехов, Доменикони, Хренокони, Кошкин, Козлов,итд...

[Пётр Гнётов]

А как теперь-то играть с нынешним роялем? Этот сундук всё гробит.
Мой друг разрабатывает новый компьютерный инструмент а ля пиано, но с живым струнным звуком. С ним должно быть здорово гитаре.
А пока - может сгодится пианино под чехлом?

[Cvetik]

А как теперь-то играть с нынешним роялем? Этот сундук всё гробит.
Мой друг разрабатывает новый компьютерный инструмент а ля пиано, но с живым струнным звуком. С ним должно быть здорово гитаре.
А пока - может сгодится пианино под чехлом?

да ладно,Петь!!!!
мона и свои переложения делать!!!
ты,кстати,где щас учишься??мы с тобой у Цветковой вместе были...помнишь дискуссию о подарках???

[Cvetik]

А как теперь-то играть с нынешним роялем? Этот сундук всё гробит.
Мой друг разрабатывает новый компьютерный инструмент а ля пиано, но с живым струнным звуком. С ним должно быть здорово гитаре.
А пока - может сгодится пианино под чехлом?

мы на 1курсе сделали переложение одной вещи для ф-но и гитары с одним мальчиком...правда потом добавили 2скрипки,альт и виоланчель...но перед этим умудрились сыграть с гитарой на 4концертах!!!!!!!!!!! веселые были времена до начала гармонии.....рок бредЕт...

[Vad]

Самый большой спец в данной области, по-видимому, Robert Trent, который написал в 1990 году диссертацию по данной теме. Он играет в дуэте со своей женой.

Duo Firenze.

У них свой сайт. Можно немного послушать. Там есть ноктюрны Молино, например.

А с современным инструментом надо использовать подзвучку, лично я так делал. Ничего звучит, если грамотно отстроить и использовать хорошие микрофоны. (А Зимаков вообще без подзвучки с роялем играет, и ничего. Хотя не являюсь его поклонником, так к месту.)
Trent в диссертации указывает число произведений как 441.


Guitar and Piano

Vast amounts of piano and guitar music were published in the early 19th century. This instrument combination was very popular in that time period. This repertoire represents much of the finest and most representative music of the period. Today, very little of this music remains in print because as any guitarist who has tried a duo with a modern grand piano today will tell you, without amplification, the guitar is drown out completely. It simply doesn't work as a combination on today's instruments.

In those days however, this combination was effective. The 19th century piano was very different from today's piano: its tone was more similar to the guitar, it was not as loud overall, and it was smaller. This was the five-octave Viennese fortepiano, as played in Mozart's and Schubert's day - the era of Carulli, Giuliani, Diabelli, and numerous other guitarist-composers who wrote for guitar with piano. In those days, a Stauffer guitar could easily play on par with a piano.

Very few people today have access to a 19th century fortepiano. In order to play the music, the modern guitarist needs to use amplification, perhaps using a microphone and PA system, or a synthesized piano with a fortepiano patch, as a reasonable compromise today. The pianist can also keep the soft pedal depressed for the most part.

As the Duo Firenze - Pamela and Robert Trent - demonstrate in their recording "Italian Nocturnes", using period instruments, guitar and piano are a very effective combination (this is a superb CD by the way). As the Trent's explain in their CD notes:

"Fortepianos (c.1780-1839) with their small, hollow, leather covered hammers help produce qualities which add up to a type of instrument that sounded much more like a guitar than does its modern relative. The guitar in the early nineenth-century had similar articulatory qualities. Thus, the potential for the guitar and fortepiano to either give the aural illusion that it is one large instrument, or to create sharp contrast while playing a simiar texture, explains yet another reason why the combination of guitar and fortepiano was such a popular one."

An article by Charles Ward for the Houston Chronicle on 10/13/03 titled "1825 piano revolutionizes enjoyment of Schubert", discussed the recent discovery and concert using an unaltered "1825 piano by the Viennese builder Conrad Graf." The key points as related to guitar and piano duos are the differences in color vs. today's grand piano, the capability of the instrument for tonal variety, its lower volume, and a second soundboard for damping volume during accompaniment. Key quotes from this article follow:

"Many of today's pianists view key early 19th-century repertoire as muscle music -- pieces to show off the power of the modern grand piano and the technique that can make it roar ...The chamber-music ensemble 'Context' .. presented the Houston debut of its "new" 1825 piano by the Viennese builder Conrad Graf. Members of Saturday's audience in Rice University's Stude Concert Hall needed only to hear the slow movement of the Wanderer to comprehend the aesthetic distance that separates modern piano playing from the norm of Schubert's time.
By using the Graf piano's extraordinary capacity to soften dynamics, pianist Brian Connelly turned the Adagio into a revelation. For the first time I sense how jolting funereal music from the time of Beethoven and Schubert can be. The muffled sound intensified the pathos in ways modern pianos never can. Found in a mountain summer home in Italy, the Graf piano is an extraordinary discovery, as Connelly explained in introductory remarks.
Graf was one of the most important piano makers in early 19th-century Vienna. Beethoven, Schubert and the rest of the pantheon knew his instruments. He built roughly 3,000, but now, Connelly said, only 80-100 survive. Many are unplayable. This Graf, however, was found in almost pristine condition; it needed no restoration. Only the strings and a few other parts had to be replaced.
... Graf's pianos were notable for the variety of sounds they produced... This one has five pedals for a variety of effects (both sustaining and dampening sound). It also has a second soundboard that fits over the strings to provide a subtle restraint on sound when accompanying... As both accompanying and solo instrument, the Graf was endlessly fascinating. Its capacity for color and character made seemingly every moment intriguing. In the violin pieces, melodies played by both instruments, whether unison or in octaves, had exceptional variety of character.
... True, in terms of power, it was at its upper limit in the 1,000-seat Stude Hall, and its upper range didn't have the ring our ears are used to with pianos. But its capacity for expression and color was stunning. From the familiar opening rush of repeated chords, the Fantasy seemed a new piece, both comforting for its familiarity and challenging for what it suggested about how revolutionary such a piece might have seemed in its own time..." - Charles Ward for the Houston Chronicle on 10/13/03 titled "1825 piano revolutionizes enjoyment of Schubert".

[Cvetik]

Самый большой спец в данной области, по-видимому, Robert Trent, который написал в 1990 году диссертацию по данной теме. Он играет в дуэте со своей женой.

Duo Firenze.

У них свой сайт. Можно немного послушать. Там есть ноктюрны Молино, например.

А с современным инструментом надо использовать подзвучку, лично я так делал. Ничего звучит, если грамотно отстроить и использовать хорошие микрофоны. (А Зимаков вообще без подзвучки с роялем играет, и ничего. Хотя не являюсь его поклонником, так к месту.)
Trent в диссертации указывает число произведений как 441.


Guitar and Piano

Vast amounts of piano and guitar music were published in the early 19th century. This instrument combination was very popular in that time period. This repertoire represents much of the finest and most representative music of the period. Today, very little of this music remains in print because as any guitarist who has tried a duo with a modern grand piano today will tell you, without amplification, the guitar is drown out completely. It simply doesn't work as a combination on today's instruments.

In those days however, this combination was effective. The 19th century piano was very different from today's piano: its tone was more similar to the guitar, it was not as loud overall, and it was smaller. This was the five-octave Viennese fortepiano, as played in Mozart's and Schubert's day - the era of Carulli, Giuliani, Diabelli, and numerous other guitarist-composers who wrote for guitar with piano. In those days, a Stauffer guitar could easily play on par with a piano.

Very few people today have access to a 19th century fortepiano. In order to play the music, the modern guitarist needs to use amplification, perhaps using a microphone and PA system, or a synthesized piano with a fortepiano patch, as a reasonable compromise today. The pianist can also keep the soft pedal depressed for the most part.

As the Duo Firenze - Pamela and Robert Trent - demonstrate in their recording "Italian Nocturnes", using period instruments, guitar and piano are a very effective combination (this is a superb CD by the way). As the Trent's explain in their CD notes:

"Fortepianos (c.1780-1839) with their small, hollow, leather covered hammers help produce qualities which add up to a type of instrument that sounded much more like a guitar than does its modern relative. The guitar in the early nineenth-century had similar articulatory qualities. Thus, the potential for the guitar and fortepiano to either give the aural illusion that it is one large instrument, or to create sharp contrast while playing a simiar texture, explains yet another reason why the combination of guitar and fortepiano was such a popular one."

An article by Charles Ward for the Houston Chronicle on 10/13/03 titled "1825 piano revolutionizes enjoyment of Schubert", discussed the recent discovery and concert using an unaltered "1825 piano by the Viennese builder Conrad Graf." The key points as related to guitar and piano duos are the differences in color vs. today's grand piano, the capability of the instrument for tonal variety, its lower volume, and a second soundboard for damping volume during accompaniment. Key quotes from this article follow:

"Many of today's pianists view key early 19th-century repertoire as muscle music -- pieces to show off the power of the modern grand piano and the technique that can make it roar ...The chamber-music ensemble 'Context' .. presented the Houston debut of its "new" 1825 piano by the Viennese builder Conrad Graf. Members of Saturday's audience in Rice University's Stude Concert Hall needed only to hear the slow movement of the Wanderer to comprehend the aesthetic distance that separates modern piano playing from the norm of Schubert's time.
By using the Graf piano's extraordinary capacity to soften dynamics, pianist Brian Connelly turned the Adagio into a revelation. For the first time I sense how jolting funereal music from the time of Beethoven and Schubert can be. The muffled sound intensified the pathos in ways modern pianos never can. Found in a mountain summer home in Italy, the Graf piano is an extraordinary discovery, as Connelly explained in introductory remarks.
Graf was one of the most important piano makers in early 19th-century Vienna. Beethoven, Schubert and the rest of the pantheon knew his instruments. He built roughly 3,000, but now, Connelly said, only 80-100 survive. Many are unplayable. This Graf, however, was found in almost pristine condition; it needed no restoration. Only the strings and a few other parts had to be replaced.
... Graf's pianos were notable for the variety of sounds they produced... This one has five pedals for a variety of effects (both sustaining and dampening sound). It also has a second soundboard that fits over the strings to provide a subtle restraint on sound when accompanying... As both accompanying and solo instrument, the Graf was endlessly fascinating. Its capacity for color and character made seemingly every moment intriguing. In the violin pieces, melodies played by both instruments, whether unison or in octaves, had exceptional variety of character.
... True, in terms of power, it was at its upper limit in the 1,000-seat Stude Hall, and its upper range didn't have the ring our ears are used to with pianos. But its capacity for expression and color was stunning. From the familiar opening rush of repeated chords, the Fantasy seemed a new piece, both comforting for its familiarity and challenging for what it suggested about how revolutionary such a piece might have seemed in its own time..." - Charles Ward for the Houston Chronicle on 10/13/03 titled "1825 piano revolutionizes enjoyment of Schubert".

....простите,что значит подзвучку...не понял...

[Jonah]

....простите,что значит подзвучку...не понял...

электронные средства усиления звука - микрофон или звукосниматель.
Хороший звукосниматель, по-моему, лучше - мне больше нравится по крайней мере с ним играть.

Забавно, но я почему то вспомнил Brise de Coeur Маклафлин играет на аккустической гитаре с пианисткой Kate Labeque на альбоме Music Spoken Here, красивая музыка.

А из аккадемической я играл концерт Вивальди с пианистом, - ерунда полная получилась.

[intro]

Репертуар действительно есть. Недавно я участвовал в конкурсе камерных ансамблей в дуэте с пианисткой. (Кстати по поводу того, что "рояль всё гробит", это не правда, просто надо на нём тоже владеть звуков, а не играть по принципу "быстрее и громче" подобно многим пианистам. ) Я играл переложение виолончельных вариаций Бетховена на тему Моцарта и Фантазию Кастельнуово-Тедеско. Жюри не отрицало качества самого исполнения, но отказалось признать гитару и ф-п камерным ансамблем.(подробнее здесь http://www.forumklassika.ru/showthread.php?t=14959 ) А как вы считаете, есть ли перспективы у подобного ансамбля в мире академической музыки (я имею в виду в России)

[Glassona]

Я романс Паганини с фортепиано играла.