Nocturnal after John Dowland, Op. 70 by Benjamin Britten. Nocturnal was composed in by English composer Benjamin Britten and was. Benjamin Britten. Nocturnal after John Dowland. In Britten received a $3, Aspen (Colorado) award given by the Institute of Humanistic Studies to . Benjamin Britten. Nocturnal after John Dowland, for guitar, Op. Composition Information ↓; Description ↓; Parts/Movements ↓; Appears On ↓. Share on.

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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 possible by displaying online advertisements to our visitors. Please nocturnwl 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 push his patience a bit too far! Perhaps will be the year that I tackle this magnificent piece! I look forward to noctyrnal about other peoples’ experience with this piece, should this thread take off.

Nocturnal after John Dowland – Wikipedia

It is my dream to be able to play Nocturnal, but I have thus far only tried to play the final brktten, with very little success, so I have shelved 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.


Then the lute starts up — the Dowland originaland the colour of the guitar must change.

Nocturnal after John Dowland, for guitar, Op. 70

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 nicturnal you’re going to embark on that piece you shouldn’t noctyrnal 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 anything like them.


Listening to Britten – Nocturnal after John Dowland, Op | Good Morning Britten

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 the drama and tumult brihten the passacaglia this very pure, hyaline presentation of the tune was very 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 sense of anticipation and purpose during the passacaglia, moreso than most interpretations I’ve heard. Brutten 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 briten by the true master. I remember a recording by Carlos Bonell. Board index All times are UTC.

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