The Baroque is a period of artistic style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, architecture, literature, dance, and music. The style started around 1600 in Rome, Italy and spread to most of Europe.

The popularity and success of the Baroque style was encouraged by the Roman Catholic Church, which had decided at the time of the Council of Trent, in response to the Protestant Reformation, that the arts should communicate religious themes in direct and emotional involvement. The aristocracy also saw the dramatic style of Baroque architecture and art as a means of impressing visitors and expressing triumphant power and control. Baroque palaces are built around an entrance of courts, grand staircases and reception rooms of sequentially increasing opulence.

Etymology

According to the Oxford English Dictionary, the word ''baroque'' is derived from the Portuguese word "barroco", Spanish "barroco", or French "baroque", all of which refer to a "rough or imperfect pearl", though whether it entered those languages via Latin, Arabic, or some other source is uncertain. A century ago, the Encyclopædia Britannica 11th edition, thought the term was derived from the Spanish ''barrueco'', a large, irregularly-shaped pearl, and it was for a time confined to the craft of the jeweller. Others derive it from the mnemonic term "Baroco" denoting, in logical ''Scholastica'', a supposedly laboured form of syllogism.

In informal usage, the word ''baroque'' can simply mean that something is "elaborate", with many details, without reference to the Baroque styles of the seventeenth and eighteenth centuries.

The word "Baroque", like most periodic or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th and early 18th centuries. It is a French transliteration of the Portuguese phrase "pérola barroca", which means "irregular pearl", and natural pearls that deviate from the usual, regular forms so they do not have an axis of rotation are known as "baroque pearls".

The term "Baroque" was initially used with a derogatory meaning, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, which sharply contrasted the clear and sober rationality of the Renaissance. Although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music, in an anonymous, satirical review of the première in October 1733 of Jean-Philippe Rameau’s ''Hippolyte et Aricie'', printed in the ''Mercure de France'' in May 1734. The critic implied that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was filled with unremitting dissonances, constantly changed key and meter, and speedily ran through every compositional device.

Modern usage

In modern usage, the term "Baroque" may still be used, usually pejoratively, describing works of art, craft, or design that are thought to have excessive ornamentation or complexity of line, or, as a synonym for "Byzantine", to describe literature, computer software, contracts, or laws that are thought to be excessively complex, indirect, or obscure in language, to the extent of concealing or confusing their meaning.

The word was first rehabilitated by the Swiss-born art historian, Heinrich Wölfflin (1864–1945) in his ''Renaissance und Barock'' (1888); Wölfflin identified the Baroque as "movement imported into mass," an art antithetic to Renaissance art. He did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Writers in French and English did not begin to treat Baroque as a respectable study until Wölfflin's influence had made German scholarship pre-eminent.

Development

Beginning around the year 1600, the demands for new art resulted in what is now known as the Baroque.

thumb|''Aeneas flees burning Troy,'' Federico Barocci, 1598 The appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th century Mannerist art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, and dramatic. Baroque art drew on certain broad and heroic tendencies in Annibale Carracci and his circle, and found inspiration in other artists such as Caravaggio, and Federico Barocci nowadays sometimes termed 'proto-Baroque'.

Seminal ideas of the Baroque can also be found in the work of Michelangelo and Correggio.

Some general parallels in music make the expression "Baroque music" useful. Contrasting phrase lengths, harmony and counterpoint ousted polyphony, and orchestral color made a stronger appearance. (See Baroque music.)

Though Baroque was superseded in many centers by the Rococo style, beginning in France in the late 1720s, especially for interiors, paintings and the decorative arts, Baroque architecture remained a viable style until the advent of Neoclassicism in the later 18th century.

In paintings, Baroque gestures are broader than Mannerist gestures: less ambiguous, less arcane and mysterious, more like the stage gestures of opera, a major Baroque art form. Baroque poses depend on ''contrapposto'' ("counterpoise"), the tension within the figures that moves the planes of shoulders and hips in counterdirections. It made the sculptures almost seem like they were about to move.

The drier, chastened, less dramatic and coloristic, later stages of 18th century Baroque architectural style are often seen as a separate Late Baroque manifestation. (See Claude Perrault.) Academic characteristics in the neo-Palladian architectural style, epitomized by William Kent, are a parallel development in Britain and the British colonies: within interiors, Kent's furniture designs are vividly influenced by the Baroque furniture of Rome and Genoa, hierarchical tectonic sculptural elements, meant never to be moved from their positions, completed the wall decoration. Baroque is a style of unity imposed upon rich, heavy detail.

Painting

A defining statement of what ''Baroque'' signifies in painting is provided by the series of paintings executed by Peter Paul Rubens for Marie de Medici at the Luxembourg Palace in Paris (now at the Louvre), in which a Catholic painter satisfied a Catholic patron: Baroque-era conceptions of monarchy, iconography, handling of paint, and compositions as well as the depiction of space and movement.

Baroque style featured "exaggerated lighting, intense emotions, release from restraint, and even a kind of artistic sensationalism". Baroque art did not really depict the life style of the people at that time; however, "closely tied to the Counter-Reformation, this style melodramatically reaffirmed the emotional depths of the Catholic faith and glorified both church and monarchy" of their power and influence.

There were highly diverse strands of Italian baroque painting, from Caravaggio to Cortona; both approaching emotive dynamism with different styles. Another frequently cited work of Baroque art is Bernini's ''Saint Theresa in Ecstasy'' for the Cornaro chapel in Saint Maria della Vittoria, which brings together architecture, sculpture, and theatre into one grand conceit.

The later Baroque style gradually gave way to a more decorative Rococo, which, through contrast, further defines Baroque.

The intensity and immediacy of baroque art and its individualism and detail—observed in such things as the convincing rendering of cloth and skin textures—make it one of the most compelling periods of Western art.

A rather different art developed out of northern realist traditions in 17th century Dutch Golden Age painting, which had very little religious art, and little history painting, instead playing a crucial part in developing secular genres such as still life, genre paintings of everyday scenes, and landscape painting. While the Baroque nature of Rembrandt's art is clear, the label is less often used for Vermeer and many other Dutch artists. Flemish Baroque painting shared a part in this trend, while also continuing to produce the traditional categories.

Sculpture

In Baroque sculpture, groups of figures assumed new importance and there was a dynamic movement and energy of human forms— they spiraled around an empty central vortex, or reached outwards into the surrounding space. For the first time, Baroque sculpture often had multiple ideal viewing angles. The characteristic Baroque sculpture added extra-sculptural elements, for example, concealed lighting, or water fountains. Aleijadinho in Brazil was also one of the great names of baroque sculpture, and his master work is the set of statues of the ''Santuário de Bom Jesus de Matosinhos'' in Congonhas. The soapstone sculptures of old testament prophets around the terrace are considered amongst his finest work.

The architecture, sculpture and fountains of Bernini (1598–1680) give highly charged characteristics of Baroque style. Bernini was undoubtedly the most important sculptor of the Baroque period. He approached Michelangelo in his omnicompetence: Bernini sculpted, worked as an architect, painted, wrote plays, and staged spectacles. In the late 20th century Bernini was most valued for his sculpture, both for his virtuosity in carving marble and his ability to create figures that combine the physical and the spiritual. He was also a fine sculptor of bust portraits in high demand among the powerful.

Bernini's Cornaro chapel: the complete work of art

A good example of Bernini's Baroque work is his ''St. Theresa in Ecstasy'' (1645–52), created for the Cornaro Chapel of the church of Santa Maria della Vittoria, Rome. Bernini designed the entire chapel, a subsidiary space along the side of the church, for the Cornaro family.

Saint Theresa, the focal point of the chapel, is a soft white marble statue surrounded by a polychromatic marble architectural framing. This structure works to conceal a window which lights the statue from above. In shallow relief, sculpted figure-groups of the Cornaro family inhabit in opera boxes along the two side walls of the chapel. The setting places the viewer as a spectator in front of the statue with the Cornaro family leaning out of their box seats and craning forward to see the mystical ecstasy of the saint.

St. Theresa is highly idealized and in an imaginary setting. St. Theresa of Avila, a popular saint of the Catholic Reformation, wrote of her mystical experiences aimed at the nuns of her Carmelite Order; these writings had become popular reading among lay people interested in pursuing spirituality. In her writings, she described the love of God as piercing her heart like a burning arrow. Bernini literalizes this image by placing St. Theresa on a cloud while a Cupid figure holds a golden arrow (the arrow is made of metal) and smiles down at her. The angelic figure is not preparing to plunge the arrow into her heart— rather, he has withdrawn it. St. Theresa's face reflects not the anticipation of ecstasy, but her current fulfillment.

This is widely considered the genius of Baroque, although this mix of religious and erotic imagery was extremely offensive in the context of neoclassical restraint. However, Bernini was a devout Catholic and was not attempting to satirize the experience of a chaste nun. Rather, he aimed to portray religious experience as an intensely physical one. Theresa described her bodily reaction to spiritual enlightenment in a language of ecstasy used by many mystics, and Bernini's depiction is earnest.

The Cornaro family promotes itself discreetly in this chapel; they are represented visually, but are placed on the sides of the chapel, witnessing the event from balconies. As in an opera house, the Cornaro have a privileged position in respect to the viewer, in their private reserve, closer to the saint; the viewer, however, has a better view from the front. They attach their name to the chapel, but St. Theresa is the focus. It is a private chapel in the sense that no one could say mass on the altar beneath the statue (in 17th century and probably through the 19th) without permission from the family, but the only thing that divides the viewer from the image is the altar rail. The spectacle functions both as a demonstration of mysticism and as a piece of family pride.

Architecture

In Baroque architecture, new emphasis was placed on bold massing, colonnades, domes, light-and-shade (''chiaroscuro''), 'painterly' color effects, and the bold play of volume and void. In interiors, Baroque movement around and through a void informed monumental staircases that had no parallel in previous architecture. The other Baroque innovation in worldly interiors was the state apartment, a processional sequence of increasingly rich interiors that culminated in a presence chamber or throne room or a state bedroom. The sequence of monumental stairs followed by a state apartment was copied in smaller scale everywhere in aristocratic dwellings of any pretensions.

Baroque architecture was taken up with enthusiasm in central Germany (see, e.g., Ludwigsburg Palace and Zwinger Dresden), Austria and Russia (see, e.g., Peterhof). In England the culmination of Baroque architecture was embodied in work by Sir Christopher Wren, Sir John Vanbrugh and Nicholas Hawksmoor, from ca. 1660 to ca. 1725. Many examples of Baroque architecture and town planning are found in other European towns, and in Latin America. Town planning of this period featured radiating avenues intersecting in squares, which took cues from Baroque garden plans. In Sicily, Baroque developed new shapes and themes as in Noto, Ragusa and Acireale "Basilica di San Sebastiano".

Another example of Baroque architecture is the Cathedral of Morelia Michoacan in Mexico. Built in the 17th century by Vincenzo Barrochio, it is one of the many Baroque cathedrals in Mexico.

Francis Ching described Baroque architecture as "a style of architecture originating in Italy in the early 17th century and variously prevalent in Europe and the New World for a century and a half, characterized by free and sculptural use of the classical orders and ornament, dynamic opposition and interpenetration of spaces, and the dramatic combined effects of architecture, sculpture, painting, and the decorative arts."

Theatre

In theatre, the elaborate conceits, multiplicity of plot turns, and variety of situations characteristic of Mannerism (Shakespeare's tragedies, for instance) were superseded by opera, which drew together all the arts into a unified whole.

Theatre evolved in the Baroque era and became a multimedia experience, starting with the actual architectural space. In fact, much of the technology used in current Broadway or commercial plays was invented and developed during this era. The stage could change from a romantic garden to the interior of a palace in a matter of seconds. The entire space became a framed selected area that only allows the users to see a specific action, hiding all the machinery and technology – mostly ropes and pulleys.

This technology affected the content of the narrated or performed pieces, practicing at its best the Deus ex Machina solution. Gods were finally able to come down – literally – from the heavens and rescue the hero in the most extreme and dangerous, even absurd situations.

The term Theatrum Mundi – the world is a stage – was also created. The social and political realm in the real world is manipulated in exactly the same way the actor and the machines are presenting/limiting what is being presented on stage, hiding selectively all the machinery that makes the actions happen.

The films ''Vatel'', ''Farinelli'', and the staging of Monteverdi's ''Orpheus'' at the Gran Teatre del Liceu in Barcelona, give a good idea of the style of productions of the Baroque period. The American musician William Christie and Les Arts Florissants have performed extensive research on all the French Baroque Opera, performing pieces from Charpentier and Lully, among others that are extremely faithful to the original 17th century creations.

Literature and philosophy

Baroque actually expressed new values, which often are summarized in the use of metaphor and allegory, widely found in Baroque literature, and in the research for the "maraviglia" (wonder, astonishment – as in Marinism), the use of artifices. The ''psychological pain of Man'' – a theme disbanded after the Copernican and the Lutheran revolutions in search of solid anchors, a proof of an "ultimate human power" – was to be found in both the art and architecture of the Baroque period. Virtuosity was researched by artists (and the virtuoso became a common figure in any art) together with realism and care for details (some talk of a typical "intricacy").

The privilege given to external forms had to compensate and balance the lack of content that has been observed in many Baroque works: Marino's "Maraviglia", for example, is practically made of the pure, mere form. Fantasy and imagination should be evoked in the spectator, in the reader, in the listener. All was focused around the individual Man, as a straight relationship between the artist, or directly the art and its user, its client. Art is then less distant from user, more directly approaching him, solving the cultural gap that used to keep art and user reciprocally far, by Maraviglia. But the increased attention to the individual, also created in these schemes some important genres like the ''Romanzo'' (novel) and allowed popular or local forms of art, especially dialectal literature, to be put into evidence. In Italy this movement toward the single individual (that some define a "cultural descent", while others indicate it as a possible cause for the classical opposition to Baroque) caused Latin to be definitely replaced by Italian.

In Spain, the baroque writers are framed in the ''Siglo de Oro''. Naturalism and sharply critical points of view on Spanish society are common among such ''conceptista'' writers as Quevedo, while ''culterano'' authors emphasize the importance of form with complicated images and the use of hyperbaton. In Catalonia the baroque took hold as well in Catalan language, with representatives including poets and dramaturgs such as Francesc Fontanella and Francesc Vicenç Garcia as well as the unique emblem book ''Atheneo de Grandesa'' by Josep Romaguera. In Colonial Spanish America some of the best-known baroque writers were Sor Juana and Bernardo de Balbuena, in Mexico, and Juan de Espinosa Medrano and Juan del Valle y Caviedes, in Peru.

In the Portuguese Empire the most famous baroque writer of the time was Father António Vieira, a Jesuit who lived in Brazil during the 18th century. Secondary writers are Gregório de Matos and Francisco Rodrigues Lobo.

In English literature, the metaphysical poets represent a closely related movement; their poetry likewise sought unusual metaphors, which they then examined in often extensive detail. Their verse also manifests a taste for paradox, and deliberately inventive and unusual turns of phrase.

For German Baroque literature, see German literature of the Baroque period.

Music

The term ''Baroque'' is also used to designate the style of music composed during a period that overlaps with that of Baroque art, but usually encompasses a slightly later period.

It is a still-debated question as to what extent Baroque music shares aesthetic principles with the visual and literary arts of the Baroque period. A fairly clear, shared element is a love of ornamentation, and it is perhaps significant that the role of ornament was greatly diminished in both music and architecture as the Baroque gave way to the Classical period.

It should be noted that the application of the term "Baroque" to music is a relatively recent development. The first use of the word "Baroque" in music was only in 1919, by Curt Sachs, and it was not until 1940 that it was first used in English (in an article published by Manfred Bukofzer).

Many musical forms were born in that era, like the concerto and sinfonia. Forms such as the sonata, cantata and oratorio flourished. Also, opera was born out of the experimentation of the Florentine Camerata, the creators of monody, who attempted to recreate the theatrical arts of the Ancient Greeks. An important technique used in baroque music was the use of ground bass, a repeated bass line. ''Dido's Lament'' by Henry Purcell is a famous example of this technique.

Composers and examples

Claudio Monteverdi (1567–1643), ''L'Orfeo, favola in musica'' (1610)

Heinrich Schütz (1585–1672), ''Symphoniae Sacrae'' (1629, 1647, 1650)

Jean-Baptiste Lully (1632–1687), ''Armide'' (1686)

Heinrich Ignaz Franz Biber (1644–1704), ''Mystery Sonatas'' (1681)

John Blow (1649–1708), ''Venus and Adonis'' (1680–1687)

Johann Pachelbel (1653–1706), ''Canon in D'' (1680)

Arcangelo Corelli (1653–1713), ''12 concerti grossi''

Henry Purcell (1659–1695), ''Dido and Aeneas'' (1687)

Tomaso Albinoni (1671–1751), ''Sonata a sei con tromba''

Antonio Vivaldi (1678–1741), ''The Four Seasons''

Johann David Heinichen (1683–1729)

Jean-Philippe Rameau (1683–1764), ''Dardanus'' (1739)

George Frideric Handel (1685–1759), ''Water Music Suite'' (1717)

Domenico Scarlatti (1685–1757), Sonatas for Cembalo or Harpsichord

Johann Sebastian Bach (1685–1750), ''Brandenburgische Konzerte'' (1721)

Georg Philipp Telemann (1681–1767), ''Der Tag des Gerichts'' (1762)

Giovanni Battista Pergolesi (1710–1736), ''Stabat Mater'' (1736)

See also

References

Bibliography

Andersen, Liselotte. 1969. "Baroque and Rococo Art", New York: H. N. Abrams.

Buci-Glucksmann, Christine. 1994. ''Baroque Reason: The Aesthetics of Modernity''. Sage.

Gardner, Helen, Fred S. Kleiner, and Christin J. Mamiya. 2005. ''Gardner's Art through the Ages'', 12th edition. Belmont, CA: Thomson/Wadsworth. ISBN 9780155050907 (hardcover) ISBN 9780534640958 (v. 1, pbk.) 0534640915 ISBN 9780534640910 (v. 2, pbk.) ISBN 9780534640811 (CD-ROM) ISBN 9780534641009 (Resource Guide) ISBN 9780534641085 (set) 0534641075 ISBN 9780534641078 (v. 1, international student ed., pbk.) ISBN 9780534633318 (cd-ROM)

Wakefield, Steve. 2004. ''Carpentier's Baroque Fiction: Returning Medusa's Gaze''. Colección Támesis. Serie A, Monografías 208. Rochester, NY: Tamesis. ISBN 1855661071.

Further reading

Bazin, Germain, 1964. ''Baroque and Rococo''. Praeger World of Art Series. New York: Praeger. (Originally published in French, as ''Classique, baroque et rococo''. Paris: Larousse. English edition reprinted as ''Baroque and Rococo Art'', New York: Praeger, 1974)

Kitson, Michael. 1966. ''The Age of Baroque''. Landmarks of the World's Art. London: Hamlyn; New York: McGraw-Hill.

Lambert, Gregg, 2004. ''Return of the Baroque in Modern Culture''. Continuum. ISBN 9780826466488.

Martin, John Rupert. 1977. ''Baroque''. Icon Editions. New York: Harper and Rowe. ISBN 006435332X (cloth); ISBN 0064300773 (pbk.)

Wölfflin, Heinrich. 1964. ''Renaissance and Baroque'' (Reprinted 1984; originally published in German, 1888) The classic study. ISBN 0-8014-9046-4

External links

The baroque and rococo culture

"Dictionary of the History of Ideas": Baroque in literature

The greatest works of Baroque literature

Webmuseum Paris

barocke in Val di Noto – Sizilien

Baroque in the "History of Art"

On Baroque Symbolism

The Baroque style and Luis XIV influence

Melvyn Bragg's BBC4 radio program ''In Our Time'': The Baroque

Category:Italian art Category:Baroque

af:Barok als:Barock ar:باروكية an:Barroco zh-min-nan:Baroque be:Барока be-x-old:Барока bg:Барок bar:Barock bs:Barok ca:Barroc cs:Baroko cy:Baróc da:Barokken de:Barock et:Barokk el:Μπαρόκ es:Barroco eo:Baroko ext:Barrocu eu:Barrokoa fa:باروک fo:Barokkur fr:Baroque fy:Barok (stylperioade) gl:Barroco gan:巴洛克式 ko:바로크 hi:बरॉक hsb:Barok hr:Barok id:Barok is:Barokk it:Barocco he:בארוק jv:Barok kn:ಬರೊಕ್‌ ka:ბაროკო ku:Barok la:Barocus lv:Baroks lb:Barock lt:Barokas li:Barok hu:Barokk mk:Барок arz:باروك ms:Baroque nl:Barok (stijlperiode) nds-nl:Barok ja:バロック no:Barokken nn:Barokken oc:Barròc pnb:بیرک nds:Barock pl:Barok pt:Barroco ro:Baroc rue:Бароко ru:Барокко stq:Barock scn:Baroccu simple:Baroque sk:Barok sl:Barok sr:Барок sh:Barok fi:Barokki sv:Barocken th:บารอก tr:Barok uk:Бароко vi:Baroque vls:Barok zh:巴洛克艺术

Danielle de Niese (born 11 April 1979) is a lyric soprano. After success as a young child in singing competitions in Australia, she moved to the United States where she developed an operatic career. From 2005 she came to widespread public attention with her performances as Cleopatra in ''Giulio Cesare'' at Glyndebourne, England. On 19 December 2009 she married Gus Christie, the chairman of the associated Glyndebourne Festival Opera, and subsequently the couple resided at Glyndebourne.

Early life

Danielle de Niese was born in Melbourne, Australia, after her parents, Chris and Beverly, had migrated from Sri Lanka to Australia as teenagers — she is of Sri Lankan Burgher heritage. In 1988, at the age of 9, she became the youngest winner of the Australian TV talent competition, ''Young Talent Time'', singing a Whitney Houston medley, for which the prize was A$ 5,000 and a Yamaha baby grand piano, which she still owns.

In 1990, her family moved to Los Angeles, where she became a regular guest host of the TV programme ''L.A. Kids'' for which she won an Emmy Award at the age of 16.

Operatic career

De Niese made her professional operatic debut at the age of 15 with the Los Angeles Opera. She became the youngest singer ever to participate in the Young Artists Studio at the Metropolitan Opera, where she debuted in 1998 at the age of 19 as Barbarina in a new production of ''Le nozze di Figaro'' directed by Jonathan Miller and conducted by James Levine. She was subsequently asked to perform the title role in the Met's production of Maurice Ravel's ''L'enfant et les sortilèges''. Other Met roles include Cleopatra in ''Giulio Cesare'' (2007), Euridice in ''Orfeo ed Euridice'' (2009), and Susanna in the same production of ''Le Nozze di Figaro'' in which she sang Barbarina in 1998.

De Niese's still growing career has ranged through early Baroque music (Poppea in ''L'incoronazione di Poppea''), via Handel, Mozart and contemporary opera premieres (''RAAFF'' by Robin de Raaff, 2004, De Nederlandse Opera) at major opera houses around the world, to Broadway (''Les Misérables'') and film (''Hannibal'') roles.

She has appeared in productions of a number of Baroque operas on stage and on DVD, including the Les Arts Florissants production of ''Les Indes galantes'' by Jean-Philippe Rameau, and as Cleopatra in ''Giulio Cesare'', directed by David McVicar, at Glyndebourne in 2005, 2006 and 2009, and in the same production at the Lyric Opera of Chicago in 2007.

At the end of 2006, when De Nederlandse Opera staged the three Mozart-Da Ponte operas conducted by Ingo Metzmacher, de Niese sang Susanna in ''Le nozze di Figaro'' and Despina in ''Così fan tutte''.

Beginning on 31 December 2011 and continuing through January 2012, de Niese appeared as Ariel in ''The Enchanted Island'', a pastiche opera created by Jeremy Sams for the Metropolitan Opera. The new opera has an original libretto in English, based on Shakespeare's ''The Tempest'' and ''A Midsummer Night's Dream'', set to music by George Frideric Handel, Antonio Vivaldi, Henry Purcell and Jean-Philippe Rameau. The performance on January 21 was broadcast worldwide as a MET HD video transmission.

Albums

''Handel Arias'' (2008)

''The Mozart Album'' (2009)

''Diva'' (2010) - released in the UK on 12 July 2010 and in the US on 3 August 2010

''Beauty of the Baroque'' (2011), with Andreas Scholl, The English Concert conducted by Harry Bicket

Personal life

De Niese (called Danni by her friends and colleagues) married Gus Christie, grandson of John Christie and chairman of Glyndebourne Festival Opera, on 19 December 2009 in St Bartholomew-the-Great, London. Since her marriage she has lived at Glyndebourne in Sussex, England.

References

External links

''Beauty of the Baroque'': "Ombra mai fu" (G. F. Handel), "Pur ti miro" (from Monteverdi's ''L'incoronazione di Poppea'', with Andreas Scholl), "Sich üben im Lieben" (from J. S. Bach's cantata ''Weichet nur, betrübte Schatten'', BWV 202

Interview, The Metropolitan Opera

Classical Archives Interview

Category:1979 births Category:Living people Category:Singers from Melbourne Category:Australian sopranos Category:Operatic sopranos Category:Burgher people Category:Australian people of Sri Lankan descent

de:Danielle de Niese es:Danielle de Niese fr:Danielle de Niese it:Danielle de Niese nl:Danielle de Niese ru:Низ, Даниэль де sv:Danielle de Niese

Paul Brandon Gilbert (born November 6, 1966 in Illinois, USA) is an American guitarist. He is well known for his technical guitar work with Racer X and Mr. Big, as well as many solo albums and numerous collaborations and guest appearances with other musicians.

He has been voted number 4 on a list in GuitarOne magazine of the "Top 10 Greatest Guitar Shredders of All Time", as well as a spot in ''Guitar World's'' 50 Fastest Guitarists of All Time list.

Shrapnel Records

Gilbert was raised in Greensburg, Pennsylvania. Around 1981-82, he first contacted Mike Varney, founder of Shrapnel Records, asking for a gig with Ozzy Osbourne. At the time, Varney couldn't think why Osbourne would want a 15 year old guitarist, but after listening to his demo he changed his mind. Gilbert was featured in ''Guitar Player'' magazine at the age of fifteen. They talked for the next 3 years, until Paul went to L.A. for the GIT (Guitar Institute of Technology), and then was ready to record Racer X's debut album Street Lethal.

Racer X

Formed in Los Angeles in 1985, Racer X originally comprised Paul Gilbert (guitar), Juan Alderete (bass), Harry Gschoesser (drums) and Jeff Martin (vocals). They were heavily influenced by Judas Priest and Gilbert's playing was reminiscent of Yngwie Malmsteen, displaying fast-driven solos with extreme-level technique. Gschoesser was replaced by Scott Travis (later known for being the drummer for Judas Priest) in 1986, and Bruce Bouillet was added as a second guitar player. Bouillet was a very skilled player, as he had to play over Gilbert's always difficult and challenging phrases. Paul Gilbert gained recognition as one of the fastest guitar players in the world due to incredibly technical pieces like "Technical Difficulties" "Frenzy", "Scarified", "Y.R.O." and "Scit Scat Wah". Gilbert left Racer X in 1988. Racer X carried on for a short time with guitarist (and fellow GIT alum) Chris Arvin and vocalist Oni Logan (later of George Lynch's Lynch Mob) when singer Jeff Martin departed to play drums in Jake E. Lee's Badlands, in which he replaced Eric Singer who left to join Alice Cooper. Shortly thereafter, the members of the re-invented Racer X went their separate ways. The original band would eventually reform (although without Bruce Bouillet, who in-turn did produce the first reunion record).

Paul contacted the members of Racer X, and all agreed to return, with the exception of Bruce Bouillet. In mid-1999 the band recorded the album Technical Difficulties. Technical Difficulties went gold in Japan, and Racer X's new record label requested a follow-up. In late 2000, the band released another album, Superheroes. The record was mixed by former Racer X guitarist, Bruce Bouillet.

In order to further capitalize on their new-found success in Japan, Universal Japan requested that the band record a live show for another live CD and DVD. On May 25, 2001, the band played their first live performance in thirteen years to a sold-out crowd at the famed Whisky a Go Go in Los Angeles. The show was recorded for both audio and video, and in 2002, both the CD and DVD were released under the name Snowball of Doom.

In January 2002, in support of Superheroes and Snowball of Doom, Racer X toured Japan and Taiwan. The band performed these shows in their Superheroes costumes, and the final show, in Yokohama, was hastily recorded in two tracks on the sound board and was to be later released as Snowball of Doom 2. Later that year, Universal Japan pushed for another Racer X release. In October 2002, all four members of Racer X gathered at Gilbert's house in Las Vegas to record ''Getting Heavier'', which was sold alongside ''Snowball of Doom 2'' in a package deal. Although the album was a successful release in Japan, some fans were disappointed with the lighter tracks, which resembled a Paul Gilbert solo album more so than a traditional Racer X album.

Racer X performed at the 2009 NAMM show at the Anaheim Convention Center in Anaheim, California. Andy Timmons and his band opened the show, followed by a solo set from Paul Gilbert, and finally Racer X. The Racer X lineup consists of Paul Gilbert, Scott Travis, Jeff Martin and John Alderete.

Mr. Big

When Billy Sheehan left David Lee Roth's band in 1988, he joined with Paul Gilbert, who had left his former band, Racer X. They founded Mr. Big, with Pat Torpey on drums and singer Eric Martin. The band was initially a huge success in Japan, and became famous internationally in 1991, with the release of their second album, ''Lean Into It''. This album featured the ballad "To Be With You", which received strong media play and reached #1 on the Billboard Hot 100.

Gilbert continued playing in Mr. Big until the late 1990s. He left the band in 1997 to pursue a solo career, and was replaced by Richie Kotzen. Mr. Big disbanded in 2002.

In June 2009, Paul Gilbert reunited with original Mr. Big members; Eric Martin (vocals), Billy Sheehan (bass), and Pat Torpey, for a world wide reunion tour. They recorded a new album with producer Kevin Shirley. titled ''What If...''. The album was released in Japan on Dec. 15th, 2010, in Europe on Jan. 21st, 2011 and in the USA in Feb. 2011. A tour to support the album kicked off at The House of Blues, in Hollywood, CA on April 2, 2011, followed by several dates in Japan in the same month. In May and June 2011, the tour continues in China, Korea, The Philippines and Europe.

Projects

In May 2003 he played in an only twice-performing project called Yellow Matter Custard, a Beatles cover band consisting also of Mike Portnoy (ex-Dream Theater), Neal Morse (ex-Spock's Beard), and Matt Bissonette. In February 2011 Yellow Matter Custard re-formed for 3 Nights Across America. Kasim Sulton replaced Matt Bissonette in the 2011 shows due to other commitments. They took their name from a Beatles lyric in "I Am the Walrus": "Yellow matter custard, dripping from a dead dog's eye".

He rejoined Portnoy along with Dave LaRue and Daniel Gildenlöw for a Led Zeppelin tribute band called Hammer of the Gods in November 2003. The same year, he toured Japan with Linus Of Hollywood, TJ Helmerich, and Scot Coogan in support of his solo albums Burning Organ, Paul the Young Dude/The Best of Paul Gilbert, and Gilbert Hotel. In September 2005, he joined Portnoy, Sean Malone, and Jason McMaster in the Rush tribute band Cygnus and the Sea Monsters. In May 2006, he joined Portnoy, Gary Cherone, and Billy Sheehan to form Amazing Journey: A Tribute to The Who, playing three shows. The band (excluding Sheehan) destroyed their equipment after the show in homage.

He was also revealed to be the guest guitarist on the Neal Morse solo album, ''Sola Scriptura''. In 2007, Paul Gilbert toured with Bruce Bouillet for promotion of his first instrumental album, ''Get Out of My Yard'', which was released in 2006. Also joining him was his wife, Emi Gilbert, on keyboards. Paul Gilbert also joined Joe Satriani and John Petrucci in the 2007 G3 tour. This was the 5th North American G3 run and the 12th tour worldwide since its inception.

On January 23, 2008, Paul released an instrumental CD titled ''Silence Followed By A Deafening Roar''. It was released in Europe on March 31, 2008, and in America on April 8, 2008. This is Paul's second instrumental album.

On October 22, 2008, Paul released an album with vocalist Freddie Nelson entitled United States. The collaboration has been described as a cross of Queen and Mr. Big.

Paul with Racer X performed at the 2009 NAMM show at the Anaheim Convention Center in Anaheim, California. Andy Timmons and his band opened the show, followed by a solo set from Gilbert, and finally Racer X. This Racer X lineup consisted of Gilbert, Scott Travis, Jeff Martin and John Alderete.

Gilbert also joined George Lynch and Richie Kotzen on the Guitar Generation tour.

On June 30, 2010, Gilbert's new album ''Fuzz Universe'' was released in Japan, with a release in America and Europe soon after. It is Paul's 3rd solo album being entirely instrumental. A cover of Johnny Cash's "Leave That Junk Alone" is featured as a Japanese bonus track.

Influences and Style

Talking about his influences, Paul mentions many different artists, including: Randy Rhoads, Kim Mitchell, Eddie Van Halen, Yngwie Malmsteen, John J Kirby, Tony Iommi, Alex Lifeson, Jimmy Page, Robin Trower, Ritchie Blackmore, Pat Travers, Gary Moore, Michael Schenker, Judas Priest, Akira Takasaki, Steve Clark, Jimi Hendrix, Kiss, and The Ramones. Paul has stated many times that he was heavily influenced by his uncle Jimi Kidd who was instrumental in getting Paul interested in playing the guitar. He is also a great fan of The Beach Boys and The Beatles. He states on the Space Ship Live DVD that George Harrison is one of his favorite guitar players. ''Guitar World'' magazine declared him one of 50 of the world's fastest guitarists of all time, along with Buckethead, Eddie Van Halen, and Yngwie Malmsteen.

Gilbert composes music in a wide variety of styles including pop, rock, metal, blues, funk and european classical music, but is perhaps best known for his versatility and speed. He is noted in particular for his efficient picking and his tendency to pick many notes rather than relying on legato for fast passages.

Instructor

Paul Gilbert wrote his own section of the British guitar magazine, ''Total Guitar'', where he normally demonstrated guitar techniques in the magazine and accompanying CD. Even before that, he contributed instructional articles to Guitar Player Magazine in a late 1980s/early 1990s series entitled "Terrifying Guitar 101". His period of working with ''Total Guitar'' spanned thirty-one issues until the November 2006 issue. Paul also teaches at the Guitar Institute of Technology (GIT) regularly, and is also an "honorary dean" of the GIT division in Japan. Paul visits Japan, enjoying the lifestyle like his Shrapnel labelmate Marty Friedman, who still lives in Japan and speaks Japanese fluently. Gilbert is known for his instructional videos, which are often comical in nature. One of his instructional videos includes him pulling a rabbit out of his guitar, putting his guitar in a straightjacket and having presents thrown at him by members of the film crew. Paul also was, for a short time, the guitar teacher of Buckethead, Russ Parrish (A.K.A. Satchell from Steel Panther), Michelle Meldrum (The late wife of Europe guitarist John Norum) and Nicole Couch of Phantom Blue. Gilbert now writes a column for ''Premier Guitar'' entitled "Shred Your Enthusiasm".

Gear

Paul Gilbert primarily uses his Ibanez PGM signature series guitars, identified by the unique painted on "F-holes". Although earlier PGM models featured the Ibanez Lo-Pro/Edge double locking tremolo system, many of his guitars (such as his main PGM300) were modified to accommodate a fixed bridge after he stopped using whammy bars in the early 90s, hence the Ibanez PGM301 guitar. Along with his signature guitars, Gilbert often uses his sticker-covered "Dino" Ibanez RG750, in addition to a wide variety of Ibanez solidbody and semi-hollow electric guitars. Recently, Gilbert has been using Ibanez "Fireman" (a reversed-body Ibanez Iceman with single-coil pickups and an extra cutaway) guitars, which he designed himself. A red version The Ibanez Fireman is to be mass-produced for consumers at a more affordable price than the Ibanez PGMFRM1 (current Paul Gilbert signature Fireman) in Fall 2011.

Regarding amplifiers, Gilbert used A/DA preamps (A/DA MP-1) and rack effects units early in his career prior to switching to Laney amplifiers. He praised the Laney amps as having ''"the best natural distorted sound of any tube amp ever heard"'' Since the G3 2007 tour however, Gilbert stated that playing with Joe Satriani and John Petrucci inspired him to take a closer look at his own guitar sound. As a result of his search he found the Marshall Vintage Modern series. He currently uses the Marshall Vintage Modern 2266c combo amps. Paul now uses the Marshall JMD:1 (specifically JMD501) amplifier along with his Vintage Modern amplifier. Paul uses Jim Dunlop Tortex picks, of which he prefers the orange (.60mm) picks. As far as cables Paul uses Bullet Cable 30' Coiled Cables, Bullet Cable SLUG DIY solderless patch cables for his pedalboard and effects.

Paul has been known to use the following effects:

Home Brew Electronics Bajo Mos

Home Brew Electronics Detox EQ

TC Electronic Nova Delay

Home Brew Electronics Compressor Retro

MXR Phase 100

MXR Phase 90

BOSS DD-3 Digital Delay

Ibanez AF2 Airplane Flanger

MXR Blue Box

Home Brew Electronics THC Chorus

Robert Keeley Nova Wah LE

Electro-Harmonix Deluxe Electric Mistress

Korg Pitchblack tuner or Boss Chromatic Tuner (depending which is more visible in stage lighting)

Majik Box Fuzz Universe (as of 2010)

X-otic AC Booster

Jim Dunlop 535Q Crybaby (as of 2010)

Paul also used a modified vintage A/DA Flanger from the 1980s (source: Berlin VIP session interview). You can hear it on tracks like 'Bucket of Rocks', and he also uses it on the 'Snowball of Doom' DVD. Paul stated the flanger had been modified. He would set the flanger to self oscillate, which would make the pitch of the resulting signal alternate up and down to create a sound similar to a dive bomb or a pull up on a whammy bar. Unfortunately, during Paul's 2008 European tour, his trusty A/DA Flanger broke. Thankfully, before the pedal broke, he and Ibanez collaborated to make a similar pedal, with both a regular flanger mode and a mode which can be set to create a close approximation of the A/DA pedal's sound, and the pedal has been released as the Ibanez Paul Gilbert AF-2 Airplane Flanger. He also uses the Psilocybe phaser and THC chorus pedals from Home Brew Electronics.

In the intro to "Get Out Of My Yard" Paul uses a Boss DD-3 Delay pedal to achieve the altered pitch looped effect at the beginning of the track. This was also demonstrated by Paul on the instructional DVD of the same name.

He is also famous for using a Makita cordless drill with three picks mounted on the end of it, which he used most famously on the Mr. Big track "Daddy, Brother, Lover, Little Boy".

In 2009, Ibanez released a new PGM model, the Ibanez PGM401, which is rather different from most of Paul's previous models, with an ash body (most of his previous models were made of basswood, although his PGM800 guitar was made of lightweight ash, a similar but different wood than that used in the PGM401), Trifade Burst finish, Cosmo Black hardware and a regular headstock replacing the reversed one of the previous models. Also, rather than the DiMarzio PAF Pro, Tone Zone and Super Distortion pickups used in his previous models, the PGM401 comes with Paul's favorite humbucker model for the past five years, the DiMarzio Air Classic, arranged in a dual humbucker arrangement. Paul has stated that he had the bridge pickup moved 1mm closer to the neck, which he said results in a warmer and thicker sound, particularly for the high notes he often uses in soloing. The F-holes are 3% smaller, to make the look more balanced with the pickup mounting rings. But perhaps the biggest difference from other current Ibanez guitar models, is that the PGM401 uses the old late-1980s neckjoint, which is thicker than the current neckjoints on other Ibanez guitars.

In 2011, Ibanez released a new model for Gilbert the FRM100. The design of the FRM100 was inspired by many hours of playing and performance by Paul Gilbert with the original Ibanez Fireman model featuring a distinctive reverse Iceman body outline

Discography

Racer X

''Street Lethal'' (1986)

''Second Heat'' (1987)

''Extreme Volume Live'' (1988)

''Extreme Volume II Live'' (1992)

''Technical Difficulties'' (1999)

''Superheroes'' (2000)

''Snowball of Doom'' (2002)

''Getting Heavier'' (2002)

''Snowball of Doom 2'' (2002)

Mr. Big

''Mr. Big'' (1989)

''Raw Like Sushi'' (1990)

''Lean Into It'' (1991)

''Raw Like Sushi II'' (1992)

''Bump Ahead'' (1993)

''Japandemonium: Raw Like Sushi 3'' (1994)

''Channel V at the Hard Rock Live'' (1996)

''Hey Man'' (1996)

''Big Bigger Biggest: Greatest Hits'' (1996)

''Next Time Around'' Best Of (2009)

''Back To Budokan'' Live (2009)

''What If...'' (2011)

Solo Albums

''Tribute to Jimi Hendrix'' (EP) (1991) (Japan Oricon Album Chart #59)

''King of Clubs'' (1998) (Japan Oricon Album Chart #28)

''Flying Dog'' (1998) (Japan Oricon Album Chart #23)

''Beehive Live'' (1999) (Japan Oricon Album Chart #72)

''Alligator Farm'' (2000) (Japan Oricon Album Chart #24)

''Raw Blues Power With Jimi Kidd'' (2002) (Japan Oricon Album Chart #94)

''Burning Organ'' (2002) (Japan Oricon Album Chart #27)

''Paul the Young Dude/The Best of Paul Gilbert'' (2003) (Japan Oricon Album Chart #31)

''Gilbert Hotel'' (2003)

''Acoustic Samurai'' (2003) (Japan Oricon Album Chart #94)

''Space Ship One'' (2005) (Japan Oricon Album Chart #53)

''Get Out of My Yard'' (2006) (Japan Oricon Album Chart #52)

''Tough Eskimo'' (limited edition EP) (2007)

''Silence Followed By A Deafening Roar'' (2008) (Japan Oricon Album Chart #39)

''United States'' With Freddie Nelson (2009)

''Fuzz Universe'' (2010) (Japan Oricon Album Chart #57)

Other appearances

''Trouble In The Streets''- Black Sheep(1985)

''Atomic Basement Tapes'' - Missing Lynx (1985)

''Revelation'' - Darrell Mansfield Band (1985)

''Pump It!' - Jeff Berlin (1986)

''Out of the Sun'' - Joey Tafolla (1990)

''Humanary Stew'' - A Tribute to Alice Cooper

''Guitars That Rule the World'' (1992)

''Smoke On The Water: A Tribute'' (1994)

''Samad: Samad'' Lead Guitar on "Joget" and "Animo" (1994)

''Jeffology: A Guitar Chronicle'' (1996)

''Carmine Appice's Guitar Zeus'' (track "Dislocated") (1996)

''Akira Takasaki - Wa'' (1996)

''Merry Axemas - A Guitar Christmas'' (1997)

''Mikazuki "In Rock" Sound Track, Guitar on tracks "Crescent Moon" & "Theme for Kazeo" (2000)

''Becker 2001, Warmth in the Wilderness -A Tribute to Jason Becker''(Guitar and vocals for ''Hawkin'')

Hughes Turner Project'' - HTP (2002)

''Battle Gear III: The Edge'' (played on "Charge and Discharge," "Morning View," and "The Machine of Rage" bonus tracks) (2003)

''Kim Fox'' Return to Planet Earth (2003) Guitar on track 4

''Guitar Wars'' (2003)

''Return to the Planet Earth'' - Kim Fox (2003)

''One Night in New York City'' - Yellow Matter Custard (2003) Available @ MikePortnoy.com

''Mieze'' - Marco Minnemann (2004)

''Five Feet...No Inches'' - Pintsize (2005)

''Contraire de la chanson'' - Marco Minnemann (2006)

''Parador'' (track "Joke") - Wisely (2006)

''Light at the End of the Tunnel'' - War and Peace (2006) (with Richie Kotzen, John Norum, Jeff Pilson)

''Two Nights In North America'' - Hammer of the Gods (2006) Available @ MikePortnoy.com

''One Night in Chicago'' - Cygnus and the Sea Monsters (2006) Available @ MikePortnoy.com

''Live with Sex Machineguns - Tokyo (2005)

''One Night in New York City'' - Amazing Journey (2007) Available @ MikePortnoy.com

''Spin The Bottle'' - An All Star Tribute To Kiss (guitars on "I Want You") (2004)

''Numbers from the Beast'' - An All Star Tribute to Iron Maiden (guitars on "The Evil That Men Do") (2005)

''Evil Lives: A True Metal Tribute to Black Sabbath'' (with Racer X on Track 4: "Children of the Grave") (2006)

''The Fool'' - Jeff Martin solo album (2006)

''Sola Scriptura'' - Neal Morse (2007)

''G3 Tour'' (2007)

''Lifeline'' - Neal Morse (2008)

''Guitar Hero Hero (Beating Guitar Hero Doesn't Make You Slash)'' - MC Lars (2008)

''Bowling for Soup - Merry Flippin' Christmas Volume 1 (I Saw Mommy Kissing Santa Clause) (2009)

Videography

''Intense Rock Jams - Sequences & Techniques'' VHS version

''Intense Rock II featuring Paul Gilbert'' VHS version

''Guitars from Mars'' Japanese DVD release

''Guitars from Mars II'' Japanese DVD release

''Terrifying Guitar Trip'' VHS version

''Eleven Thousand Notes'' DVD

''Guitar Wars'' DVD

''Space Ship Live DVD (2005)

''Complete Intense Rock DVD (2006)

''Terrifying Guitar Trip DVD (2006)

''Get Out Of My Yard Guitar Instructional (string skipping) DVD (2007)

''Get Out Of My City Guitar Instructional DVD/VCD (2007)

''One Night In New York City'' - Yellow Matter Custard (2003)

''Two Nights In North America'' - Hammer Of The Gods (2006)

''One Night In Chicago'' - Cygnus And The Sea Monsters (2006)

''One Night In New York City - Amazing Journey (2007)

''Silence Followed By A Deafening Roar Guitar Instructional DVD And Shred Annex (2008)

''The Last Note of Freedom

References

External links

The official Paul Gilbert site

The official Racer X site

Paul Gilbert - Rock Squad Interview

Gilbert's solo on Mr Big site

Paul Gilbert on Last.fm

Paul Gilbert artist page at Guitar Video Channel

Category:1966 births Category:Living people Category:American rock guitarists Category:Lead guitarists Category:Racer X members Category:Mr. Big members Category:G3 (tour) Category:Musicians from Pittsburgh, Pennsylvania Category:People from Carbondale, Illinois

cs:Paul Gilbert de:Paul Gilbert es:Paul Gilbert fa:پال گیلبرت fr:Paul Gilbert hr:Paul Gilbert it:Paul Gilbert he:פול גילברט hu:Paul Gilbert nl:Paul Gilbert ja:ポール・ギルバート pl:Paul Gilbert pt:Paul Gilbert ru:Гилберт, Пол sk:Paul Gilbert fi:Paul Gilbert sv:Paul Gilbert tr:Paul Gilbert zh:保罗·吉尔伯特

Narciso Yepes (14 November 19273 May 1997) was a Spanish guitarist.

Biography

Yepes was born into a family of humble origin in Lorca, Region of Murcia. His father gave him his first guitar when he was four years old. He took his first lessons from Jesus Guevara, in Lorca. Later his family moved to Valencia when the Spanish Civil War started in 1936.

When he was 13, he was accepted to study at the Conservatorio de Valencia with the pianist and composer Vicente Asencio. Here he followed courses in harmony, composition, and performance.

On 16 December 1947 he made his Madrid ''début'', performing Joaquín Rodrigo's ''Concierto de Aranjuez'' with Ataúlfo Argenta conducting the Spanish National Orchestra. The overwhelming success of this performance brought him renown from critics and public alike. Soon afterwards, he began to tour with Argenta, visiting Switzerland, Italy, Germany and France. During this time he was largely responsible for the growing popularity of the ''Concierto de Aranjuez''.

Quotes by Angelo Gilardino on the relationship between Argenta and Yepes:

::''"A very young Narciso Yepes - not yet enlightened by Argenta's lessons, but surely capable of occupying the hot seat with dignity - gave at least one public performance of "Aranjuez" on 1948"''

::''"[...] great Spanish conductor Ataulfo Argenta (1913-1958).[...] He associated Yepes to his project and he taught the guitarist how to perform Aranjuez note by note. Yepes was humble and intelligent enough to do exactly what Argenta had asked him to do. It was only after that historical recording that Aranjuez became a famous piece, and Yepes an even more famous guitarist."''

::''"Argenta played the shapes at the piano and the guitarist absorbed them with his skilfullness."''

::''"I refer to the interpretation of the piece: in order to have the solo part performed with full consistency to his views (and to the orchestra) Argenta took Yepes under a thorough instruction and he was able to get from him the best. I never implied that Yepes couldn't read pieces himself - he had been given basic music instruction by the composer Vicente Asencio, who had added a lot of knowledge to the rather amateurish musical instruction Yepes had got from his former teacher, the guitarist Estanislao Marco."''

In 1950, after performing in Paris, he spent a year studying interpretation under the violinist George Enescu, and the pianist Walter Gieseking. He also studied informally with Nadia Boulanger. This was followed by a long period in Italy where he profited from contact with artists of every kind.

On 18 May 1951, as he leant on the parapet of a bridge in Paris and watched the Seine flow by, Yepes unexpectedly heard a voice inside him ask, "What are you doing?" He had been an unbeliever for 25 years, perfectly content that there was no God or transcendence or afterlife. But that existential question, which he understood as God's call, changed everything for him. He became a devout Catholic, which he remained for the rest of his life.

In 1952 a work (Romance), Yepes claims to have written when he was a young boy, became the theme to the film ''Forbidden Games'' (''Jeux interdits'') by René Clément.

Despite Yepes's claims of composing it, the piece (Romance) has often been attributed to other authors; indeed published versions exist from before Yepes was even born, and the earliest known recording of the work dates from a cylinder from around 1900. In the credits of the film ''Jeux Interdits'', however, ''Romance'' is credited as "Traditional: arranged - Narciso Yepes." Yepes also performed other pieces for the ''Forbidden Games'' soundtrack. His later credits as film composer include the soundtracks to ''La Fille aux yeux d'or'' (1961) and ''La viuda del capitán Estrada'' (1991). He also starred as a musician in the 1967 film version of ''El amor brujo''.

In Paris he met Marysia Szumlakowska, a young Polish philosophy student. They married in 1958 and had two sons, Juan de la Cruz (deceased), Ignacio Yepes, an orchestral conductor and flautist, and one daughter, Ana Yepes, a dancer and choreographer.

In 1964, Yepes performed the ''Concierto de Aranjuez'' with the Berlin Philharmonic Orchestra, premièring the ten-string guitar, which he invented in collaboration with the renowned guitar maker José Ramírez III. thumb|280px|Yepes' 10-string guitar tuning The instrument made it possible to transcribe works originally written for baroque lute without deleterious transposition of the bass notes. However, the main reason for the invention of this instrument was the addition of string resonators tuned to C, A#, G#, F#, which resulted in the first guitar with truly chromatic string resonance - similar to that of the piano with its sustain/pedal mechanism.

After 1964, Yepes used the ten-string guitar exclusively, touring all six inhabited continents, performing in recitals as well as with the world's leading orchestras, giving an average of 130 performances each year.

Apart from being a consummate musician, Yepes was also a significant scholar. His research into forgotten manuscripts of the sixteenth and seventeenth centuries resulted in the rediscovery of numerous works for guitar or lute. He was also the first person to record the complete lute works of Bach on period instruments (14-course baroque lute). In addition, through his patient and intensive study of his instrument, Narciso Yepes developed a revolutionary technique and previously unsuspected resources and possibilities.

He was granted many official honours including the Gold Medal for Distinction in Arts, conferred by King Juan Carlos I; membership in the Academy of “Alfonso X el Sabio” and an Honorary Doctorate from the University of Murcia. In 1986 he was awarded the Premio Nacional de Música of Spain, and he was elected unanimously to the Real Academia de Bellas Artes de San Fernando.

In the 1980s, Yepes formed Trio Yepes with his son Ignacio Yepes on flute and recorder and his daughter Ana dancing to her own choreography.

After 1993, Narcisco Yepes limited his public appearances due to illness. He gave his last concert on 1 March 1996 in Santander (Spain).

He died in Murcia in 1997, after a long battle with lymphoma.

Press quotes

Positive and negative reviews of Yepes' performances, as with any artist, can be found:

Positive

"Narciso Yepes gave a most delicate account of Rodrigo's ''Concierto de Aranjuez''. The range of timbres he can produce, to contrast phrases and to shape them, is astonishing . . . The work is not worthy of such playing." (Paul Griffiths [author on new music, writer, librettist, critic] 1974, ''The Times'', London, 6 Nov., p. 11)

"Mr. Yepes' playing was distinguished by its clarity of detail, particularly in the ornaments, and facility of the passage-work. He was also able to sustain contrapuntal lines by some devilish trick, and he used color, not like Segovia, for its sensual appeal, but to help underline phrases and structural details ... Yepes had poetry and power in large measure and flexibility of rhythm that was a total contradiction to the tight beat he kept. Mr. Yepes' startling performing magnetism is a natural product of his technical mastery..." (''Musical America'')

"With a rare intelligence and sensibility, Narciso Yepes conveyed to his audience that powerful silencing of all the critical spirit that only really great performers can bestow." (''Le Soir'', Brussels)

"Such incomparable artistry, coupled with staggering technical virtuosity, is rare among artists today." (''Records and Recordings'')

"Yepes is more than a brilliant virtuoso and more than a consummate musician ... he is a magician who needs no more than a rhythm or a chord to bring all under his power." (''Aux Écoutes'', Paris)

"He is a consummate technician and a knowledgeable interpreter in a variety of guitar idioms, from the Renaissance and Baroque to the Modern ... His attributes as a well-disciplined master of the guitar are of the first rank." (''The New York Times'')

"Other fine guitarists have visited Japan, but none of them, not even Segovia, revealed such delicacy and beauty in the instrument." (''Sankei Shinbun'', Tokyo)

"...We consider Yepes the most complete guitarist of our times." (''El Mercurio'', Santiago de Chile)

"An admirable musician, a master of his instrument ... his interpretations are solidly built up and are not affected by the slightest trace of sentiment ... The audience showed their enthusiasm by their eager and well-deserved applause and foot-stomping. Certainly merited". (''Journal de Genève'', Geneva)

"His musical personality is of the widest possible scope. It took no more than three opening pieces to establish Mr. Yepes as a vibrant, sensual, searching and highly articulate performer". (''New York Herald Tribune'')

Neutral/Negative

"Compared with the more flowing style of his older contemporary, Andres Segovia [...], Mr. Yepes's style could sound oddly clipped, yet his admirers pointed out that his approach allowed counterpoint to emerge with a clarity unusual on the guitar." (THE NEW YORK TIMES; Narciso Yepes, Spanish Guitarist And an Innovative Musician, 69; Allan Kozinn; May 4, 1997)

"Yepes is, of course, a thoroughly accomplished performer, but in this repertory he seems a bit too cool and, at times, even mechanical. Certainly his account of the famous ''Chaconne'', if more rhythmically stable than Segovia's, has none of the rich panoply of colors that Segovia produced. Then, too, the three-note figurations that comprise the E Prelude are plucked out with a stiff rigidity lacking the nuance and legato phrasing that Julian Bream [...]" (Fanfare, 1984; Joel Flegler)

"Yepes, for all his wonderful technique, seems quite removed from the music." (The Music journal, 1969; University of Michigan)

"[...] [other guitarist's] exciting and perceptive performances of the lute works, which were recorded between 1981 and 1984, are light years better than the stilted, drab, and often utterly stillborn interpretations of Narciso Yepes, who does not sound by any means comfortable playing the lute." (American record guide; 1984)

"Spanish guitarist Narciso Yepes (1927-97) was one of the oddest high-profile players active in the second half of the century. He adhered to no school and seems to have had few followers. His playing on his numerous Deutsche Grammophon recordings is almost always inexplicably quirky, with crisp, staccato articulation, square phrasing, metronomic rhythms, and interpretations that can be eerily devoid of expression." (American Record Guide; Steven Rings; 1 September 2001)

"The Yepes interpretive hallmarks are all here: crisp articulation, square phrasing, and metronomic regularity. It always struck me as very odd that this elder statesman among Spanish guitarists could produce such mannered and stiff renditions of these Iberian favorites. It seems almost as though Yepes deliberately sought to position himself as the antidote to Segovian excesses. [...] But the guitar world is richer for having had a Yepes. Such polar opposites stir things up and encourage critical reappraisals of interpretive traditions. [...] his approach just falls flat, as in most of the other Spanish standards by Albeniz, Granados, and company. Yepes often seems determined to make this music neither exciting nor romantic.[...] if you are interested in building your library, there are dozens of other recordings of this standard fare that you would be better off with." (American Record Guide; Steven Rings; 1 September 2003)

"Narciso Yepes is a clean-fingered (though not infallible) player with a rather academic approach" (The Gramophone; Compton Mackenzie, Christopher Stone; 1954)

"Respectfully, I cannot place Yepes on the same level with Segovia and Bream." (Angelo Gilardino, Guitar Review, Issue 115/Winter 1999)

"controversially different" (The New Grove Dictionary of Music and Musicians)

"The Spaniard Narciso Yepes, now, is famous, as much for his occasional lapses as for his occasional excellences. Both sides of Yepes are usually on display" (American record guide, 1986)

"Yepes can be downright unmusical in his pedantic interpretations of some pieces [...], yet stunning - musically and technically - in other pieces." (Classical Music: The Listener's Companion by Alexander J. Morin, Harold C. Schonberg; ISBN 0879306386)

"The suite by Falckenhagen and the two Scarlatti sonata transcriptions - both clean and cool in their symmetry - seemed burdened to the point of stumbling by Mr. Yepes's rhapsodic pauses and surges. [...] In three Villa-Lobos studies, however, Mr. Yepes's generosity of phrase found sympathetic and grateful recipients [...]" (THE NEW YORK TIMES; Music Noted in Brief; Narciso Yepes Plays A Guitar Recital at Met; Bernard Holland; November 10, 1986)

"In meiner Jugend in den Siebzigern war die „Hifi Stereophonie” das absolute Flaggschiff der gehobenen Musikrezension und eine wichtige Quelle der Information in meinem Klassik geneigten Umfeld. ... Als ich die 12 Etudes von Villa-Lobos zu spielen begann, kaufte ich von meinem schmalen Taschengeld jene Aufnahme von Narciso Yepes, die in nämlichem Blatt in allen Kriterien die Höchstbewertung erhalten hatte und als ewige Referenz bejubelt worden war. Und was hörte ich dann? Ein schon für meine damalige völlig ungebildete Wahrnehmung musikbeamtenhaft herunterbuchstabierte hölzern uninspirierte Pflichtübung ..." (Prof. Frank Bungarten; Pressto 1.2007 Wenn es nur die Wahl des Instruments wäre, müsste man heute Narciso Yepes neben Gustav Leonhardt und Nikolaus Harnoncourt als Pionier der Alten Musik nennen, denn er hat ja das Bach’sche Lautenwerk auf einer Barocklaute aufgenommen ... eine mehr als peinliche Aufnahme bei der Archiv-Produktion (2708030) übrigens, die nie wieder neu aufgelegt worden ist, weil man sich ihrer offenbar schämte. Diese Produktion auf zwei Vinyl-Schallplatten ist auch noch gut besprochen worden, weil Yepes als Gitarrist ein bekannter Mann war und seine Meriten hatte und weil die Deutsche Grammophon mit ihrer Archiv-Produktion Garant für Qualität war. Aber sie beweist, dass die Benutzung eines historischen Instruments aus Musik noch keine Alte Musik macht. (Peter Päffgen; GITARRE & LAUTE XXX/2008/Nº 1)

Recordings (partial)

Recordings at Deutsche Grammophon Gesellschaft

"La Fille aux Yeux d'Or" (original film soundtrack) (Fontana, 460.805)

"Narciso Yepes: Bacarisse/Torroba" (Concertos) (London, CCL 6001)

"Jeux Interdits" (Original film soundtrack) (London, Kl 320)

"Narciso Yepes: Recital" (London, CCL 6002)

"Falla/Rodrigo" (Concierto de Aranjuez) (London, CS 6046)

"Spanish Classical Guitar Music" (London, KL 303)

"Vivaldi/Bach/Palau" (Conciertos & Chaconne)(London, CS 6201)

"Guitar Recital: Vol. 2" (London, KL 304)

"Rodrigo/Ohana" (Concertos) (London, CS 6356)

"Guitar Recital: Vol. 3" (London, KL 305)

"The World of the Spanish Guitar Vol. 2" (London, STS 15306)

"Simplemente" (re-release of early recordings) (MusicBrokers, MBB 5191)

"Guitar Music Of Spain" (LP Contour cc7584)

"Recital Amerique Latine & Espagne" (Forlane, UCD 10907)

"Les Grands d'Espagne, Vol. 4" (Forlane, UM 3903)

"Les Grands d'Espagne, Vol. 5" (Forlane, UM 3907)

"Fernando Sor - 24 Etudes" (Deutsche Grammophon, 139 364)

"Spanische Gitarrenmusik aus fünf Jahrhunderten, Vol. 1" (Deutsche Grammophon, 139 365)

"Spanische Gitarrenmusik aus fünf Jahrhunderten, Vol. 2" (Deutsche Grammophon, 139 366)

"Joaquín Rodrigo: Concierto de Aranjuez, Fantasía para un Gentilhombre" (Deutsche Grammophon, 139 440)

"Rendezvous mit Narciso Yepes" (Deutsche Grammophon, 2538 106)

"Luigi Boccerini: Gitarren-Quintette" (Deutsche Grammophon, 2530 069 & 429 512-2)

"J.S. Bach - S.L. Weiss" (Deutsche Grammophon, 2530 096)

"Heitor Villa-Lobos" (Deutsche Grammophon, 2530 140 & 423 700-2)

"Música Española" (Deutsche Grammophon, 2530 159)

"Antonio Vivaldi" (Concertos) (Deutsche Grammophon, 2530 211 & 429 528-2)

"Música Catalana" (Deutsche Grammophon, 2530 273)

"Guitarra Romantica" (Deutsche Grammophon, 2530 871)

"Johann Sebastian Bach: Werke für Laute" (Works for Lute - Complete Recording on Period Instruments) (Deutsche Grammophon, 2708 030)

"Francisco Tárrega" (Deutsche Grammophon, 410 655-2)

"Joaquín Rodrigo" (Guitar Solos) (Deutsche Grammophon, 419 620-2)

"Romance d'Amour" (Deutsche Grammophon, 423 699-2)

"Canciones españolas I" (Deutsche Grammophon, 435 849-2)

"Canciones españolas II" (Deutsche Grammophon, 435 850-2)

"Rodrigo/Bacarisse" (Concertos) (Deutsche Grammophon, 439 5262)

"Johann Sebastian Bach: Werke für Laute" (Works for Lute - Recording on Ten-String Guitar) (Deutsche Grammophon, 445 714-2 & 445 715-2)

"Rodrigo/Halffter/Castelnuovo-Tedesco" (Concertos) (Deutsche Grammophon, 449 098-2)

"Domenico Scarlatti: Sonatas" (Deutsche Grammophon, 457 325-2 & 413 783-2)

"Guitar Recital" (Deutsche Grammophon, 459 565-2)

"Asturias: Art of the Guitar" (Deutsche Grammophon, 459 613-2)

"Narciso Yepes" (Collectors Edition box set) (Deutsche Grammophon, 474 667-2 to 474 671-2)

"20th Century Guitar Works" (Deutsche Grammophon)

"Guitar Music of Five Centuries" (Deutsche Grammophon)

"G.P. Telemann" (Duos with Godelieve Monden) (Deutsche Grammophon)

"Guitar Duos" (with Godelieve Monden) (BMG)

"Leonardo Balada: Symphonies" ('Persistencies') (Albany, TROY474)

Works composed for or dedicated to Narciso Yepes (partial)

Concepción Lebrero: Remembranza de Juan de la Cruz

Estanislao Marco: Guajira

Tomás Marco: Concierto "Eco"

Joaquín Rodrigo: En los trigales (1939)

Manuel Palau: Concierto levantino

Manuel Palau: Ayer

Manuel Palau: Sonata

Salvador Bacarisse: Concertino in A-minor

Salvador Bacarisse: Suite

Salvador Bacarisse: Ballade

Maurice Ohana: Tiento (1955)

Maurice Ohana: Concerto "Trois Graphiques" (1950-7)

Maurice Ohana: Si le jou paraît... (1963)

Cristobal Halffter: Codex 1 (1963)

Leo Brouwer: Tarantos

alcides lanza: modulos I (1965)

Leonardo Balada: Guitar Concerto No. 1 (1965)

Antonio Ruiz-Pipó: Cinqo Movimientos (1965)

Antonio Ruiz-Pipó: Canciones y Danzas (1961)

Leonardo Balada: Analogías (1967)

Antonio Ruiz-Pipó: "Tablas" Concerto (1968-69/72)

Vicente Asencio: Collectici íntim (1970)

Vicente Asencio: Suite de Homenajes

Bruno Maderna: Y después (1971)

Leonardo Balada: "Persistencias" Sinfonía-concertante (1972)

Jorge Labrouve: Enigma op. 9 (1974)

Jorge Labrouve: Juex op. 12 (Concertino) (1975)

Luigi Donorà: Rito (1975)

Francisco Casanovas: La gata i el belitre

Miguel Ángel Cherubito: Suite popolar Argentina

José Peris: Elegía

Xavier Montsalvatge: Metamorfosis de Concierto (1980)

Xavier Montsalvatge: Fantasía para guitarra y arpa (1983)

Federico Mompou: Canço i dansa no. 13

External links

International Jose Guillermo Carrillo Foundation

Official Homepage www.narcisoyepes.org

Biography (Conservatorio de Música "Narciso Yepes" Lorca (Murcia) España)

[ Biography] by Robert Cummings (Allmusic) Information (Región de Murcia Digital) Biography (Guitarreando) Biography (A.MA.MUS. es una Asociación de Maestros de Música)

Information (Esperanto)

Narciso Yepes receiving Doctores Honoris Causa at Universidad de Murcia (audio)

Entrevista Con Narciso Yepes (includes audio interview) by Manuel Segura; Murcia, February 1988 αφιέρωμα για τα 80 χρόνια από τη γέννηση του Narciso Yepes (Tar)

http://uk.youtube.com/watch?v=TWJfF0XegAw Narciso Yepes explains his authorship of the Romance

www.tenstringguitar.info Site about the modern Yepes 10-string guitar as envisioned by Narciso Yepes (edited by Viktor van Niekerk)

Photos

1,

2,

3,

4,

Articles

Narciso Yepes en el recuerdo by Antonio Díaz Bautista (laverdad.es) Narciso Yepes y su legado olvidado (laverdad.es)

Recordings

Recordings at Deutsche Grammophon Gesellschaft

Some photos of LP covers (Oviatt Library Digital Collections)

Joaquín Rodrigo - Concierto de Aranjuez by Narciso Yepes

References

Category:1927 births Category:1997 deaths Category:Converts to Roman Catholicism from atheism or agnosticism Category:Inventors of musical instruments Category:Murcian people Category:Spanish classical guitarists Category:Spanish film score composers Category:Spanish lutenists Category:Spanish Roman Catholics

fa:نارسیسو یه‌پز ca:Narciso Yepes cs:Narciso Yepes de:Narciso Yepes es:Narciso Yepes eu:Narciso Yepes fr:Narciso Yepes it:Narciso Yepes nl:Narciso Yepes ja:ナルシソ・イエペス pl:Narciso Yepes pt:Narciso Yepes ro:Narciso Yepes fi:Narciso Yepes