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Benjamin Britten in the ‘s. What better piece to start us off in this new category than Nocturnal after John Dowland, Op. 70 by Benjamin. Benjamin Britten. Nocturnal after John Dowland, for guitar, Op. Composition Information ↓; Description ↓; Parts/Movements ↓; Appears On ↓. Share on. It is my dream to be able to play Nocturnal, but I have thus far only tried to play the final movement, with very little success, so I have shelved it.

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Classical Net – Britten – Nocturnal after John Dowland

Classical Guitar Skip to content. Forum guitare classique – Forum chitarra classica – Foro guitarra clasica – Free sheet music for classical guitar – Delcamp. Our website is made brithen by displaying online advertisements to our visitors. Please consider supporting us by disabling your ad blocker on our website. Bream, did you not give us fingering for the last movement? There is also that bit of Bream’s Masterclass with this piece on YouTube, which provides additional assistance on a few parts.

I would love to sit down with Bream himself, and work through it although that may briften his patience a bit too far! Perhaps will be the year that I tackle this magnificent piece! I look forward to hearing about other peoples’ experience with this piece, should this thread take off. It is my dream to be able to play Nocturnal, but I have thus far only tried to play the final movement, with very bbritten success, so I have brittem it for the time being.

What was the reason for not fingering the Dowland? Everybody asks me about that. It’s a visual thing.

It was the original theme and the music changes suddenly. You get this contortion in the Passacagliaand those tremendous runs, then the whole thing sort of winds down into E major with that little run in the bass, very slow.


Nocturnal after John Dowland, for guitar, Op. 70

Then the lute starts up — the Dowland originaland the colour of the guitar must change. We leaveorand we’re back inand the playing should be very simple, almost as though the player is eavesdropping on another player. It must be very, very remote. It’s difficult to put these feelings in directions. You can put “remote” on top — or whatever, but visually the piece looks remote.

And if you’re going to embark on that piece you shouldn’t have difficulty fingering the Dowland. That’s what I say. Here’s the exact answer to your question. This is from an interview with Bream given to George Clinton from the English Guitar magazine in It was such a challenge and took at least a year of constant work.

My examiner was John Mills which only added to the pressure to the recital which was also open to the public, recorded and from memory!! I am now returning to this piece as we enter which is the centenery of Britten’s birth. I’m also looking at Songs from the Chinese. It’s soundworld is magic and dreamy. I also played it in a recital in 98 and now will again in March. Tonights practice of the pizzicato part in the passacaglia left me with a funny thumb.

Kevin Aram “Torres”, Stephan Schlemper “Transparence”, Whatever you can do to have a good time, let’s get on with it so long as it doesn’t cause a murder I’m not sure I’ll ever play it, but the arrival of the Dowland at the end of the variations is one of my favorite moments in classical guitar music.

What other major contemporary pieces do you guys like?

Back in the 60s our small town librairian one day gave me a call and said,”I have something for you. She knew that I was not going to bring it back, so she ordered two. I was a rough and tough teenager, but I hated the Beetles, The Stones and npcturnal like them.


This album changed everything. The Henze, Martin and Britten music had more reach than I understood at the time. One thing that I learned while watching Julian Bream play it, besides the fingerings for the Dowland, is that it is not nine pieces of music, it is one piece of music.

Quite a lot of analysis of the piece from forum member Sanft. The basic thing about playing the guitar is the pleasure you get from it. There’s nothing wrong with pleasure is there? After nocturnl drama and tumult of the passacaglia this very pure, hyaline presentation of the tune was noctrnal affecting.

Now a couple of disclaimers; 1 this piece is open to a variety of interpretations so there’s no suggestion that this is the “right” way to do it 2 looking at the score looking only — I’m a few lifetimes away from playing it some rallentandos in this section at the ends of phrases are encouraged so there’s plenty of scope for more “expressive” renditions of the finale.

Pity I don’t have this version anymore. I think I’ll have a look for it. I think Bream’s second EMI recording sustains a remarkable nocutrnal of anticipation and purpose during the passacaglia, moreso than most interpretations I’ve heard.

I’m less familiar with his RCA version so I can’t compare. Manage to get all the fingerings, position etc When I watch Bream’s video playing of this piece, I decided to quit playing this piece. This mater piece can only be played by the true master.

I remember a recording brtiten Carlos Bonell. Board index All times are UTC.