Here’s Piotr Pakhomkin playing Tarrega’s Capricho Arabe on a beautiful 1932 Domingo Esteso classical in spruce and CSA rosewood. This guitar has all of the charm and beauty we associate with mid-century Spanish guitars, and it is one of the fancier Esteso guitars we’ve seen. Tarrega seems a perfect choice for this guitar and Piotr certainly does the piece and the guitar justice.

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13 Responses to “Piotr Pakhomkin – 1932 Domingo Esteso”

  1. Howard says:

    [listener tips hat]

    Muy bonito.

  2. Paul says:

    Absolutely beautiful. Wonderful legatos, so clear and precise throughout. Well played!

  3. Tuan says:

    This guitarist plays very beautiful sounds, but his sense of rhythm is somewhat problematic. It seems he cannot keep the steady beats while playing rubato.

    • Juan says:

      Sadly, you are correct. It is a common problem with musicians and especially noticable with well known pieces like this one.

      • James says:

        Piotr Pakhomkin has made the artistic decision to play the piece in this way. He clearly is capable of playing it so that the rubato borrows here and pays back there but has instead employed a rubato that foreshortens some measures. While I personally wouldn’t interpret the piece in this way, I have enormous respect for the skill and talent of this young player. He’s really, really good. And luckily he doesn’t always interpret and express the way you and I might.

        • James says:

          P.S. If you don’t believe me when I say he’s really, really good, check out his Bach Chaconne rendition on youtube.

  4. Red Reindeer says:

    Sorry, Tuan and Juan. I hate to contradict you but …
    Have you two ever heard of the Italian “Belcanto” tradition in the 19th century? When did Tarrega live?
    Unfortunately there are no recordings of that era ( of course!) – only written documentary descriptions- and the afterglow in the 20th is only a faint remembrance : Guigli, J.Schmidt (!) et al., even Pavarotti but NOT The American Caruso in 1920th) I still have some schellack recordings from my father’s collection.
    The conductors could hardly guide the orchestras because of the extensive rubati of Belcanto singers. Unbelievable for us and the exakt contrary of our modern “timing” in rock and jazz music. The top “divas” of our days , Netrebko, Garanca or the shooting star Aida Garifullina … they all come from the former Russian School where the Belcanto had survived in one way or another. So, please, let Piotr play HIS Tarrega in the adequate intepretation of the Tarrega era ( or what he thinks it could be) Do I have your understanding?

    • Tuan says:

      A ha, it seems you want to say that because Tarrega lived in the 19th century, and the singing style of “bel canto” existed during the 19th century, therefore Tarrega’s guitar music had to be expressed like “bel canto”? OK, OK, a rabbit can be a tiger, because they live in the same forest and, moreover, they both have four legs!!!

    • Tuan says:

      it seems that any erratic playing could be defended by some “stylistic expressions” 🙂

  5. Rico Antonio says:

    The notes in question are written with a Pausa over the notes, which would indicate an ad libitum to the player of sorts. If he chooses rubato/Pausa, then he has to decide how quickly he needs to catch up. This is a delicate balancing act, which is why the greatest musicians always have a coach to assist in making that adjustment. If it is held too long, then the true notes of the Veloce are missed [out of balance] and the audience wonders why.
    In this case, BelCanto is just a talking point. Piotr does just fine!

  6. Marius Pessah says:

    The sound quality and lyricism of the Esteso guitar are truly breathtaking . What a fabulous guitar .
    On the whole I felt that Piotra’s playing was very good with excellent technique and sound . I too was bothered by his timing which is guite different than Bel Canto . There were times that I felt myself getting anxious because I felt he was going to miss a note . Segovia played in the “Romantic Style ” and was criticized for not playing al tempo but it always was cohesive and felt musical and emotional . I think Piotra needs a little more metronome playing . Lastly , can we please put this piece , Recuerdos del Alhambra , Leyenda and the Bach Chaconne into a vault and lock it for the next fifty years . Let’s find some fresh new warhourse pieces to play .

  7. David M says:

    If it sounds good, it is good. How does it sound?

  8. Mike Atkinson says:

    To Marius Pessah …. please let us not put these pieces in a vault until I have learned to play them.

    Oh, and if I could learn them on THIS instrument …. be still my heart …

    To David M …. it does sound wonderful, doesn’t it.

    (although, while I don’t mind the occassional string squeek on recordings, hearing the performer breathing, that is something else. which is why I hold my breath for the entire lenght of any piece I play 🙂 )


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