Legnani's compositions, such as the "36 Capriccios" and his "Fantasia op.19" (among others Works), reflect his virtuosity and innovations in guitar technique. His work fuses styles that combine elements of classicism with romantic influences, cementing him as a precursor of romanticism in guitar music.
In addition to being a composer, Legnani was an influential educator. His teaching method and works became fundamental references for future generations of guitarists, laying the foundations for the development of modern guitar technique.
I want to highlight that all of this what I have mentioned in the previous paragraphs is related to the era of Bel Canto. On January 25, 2025, I attended a masterclass with soprano Eva María Westbroek in The Hague, where I observed many aspects applicable to the guitar. For example, she mentioned how to move the head to change intervals, something we can also do with an organic gesture on the guitar. She spoke about the importance of balancing control and freedom to resonate on stage. This translates into maintaining a rational state for control while also being sentimental to express what we feel while playing.
She also emphasized the relationship between text and interpretation, something I practice with Pavel Steidl by adding levels of difficulty to the pieces. Sometimes we incorporate text into instrumental music for guitar, seeking to create the phrases we desire, connecting with the body and breathing.
In her talk, she highlighted the importance of playing with the body. Later, I will explore concepts such as "mesa di voce," but body control and relaxation are crucial for facilitating techniques on the guitar (thanks Pavel Steild). For example, during a concert in in the Concertgebouw hall in Amsterdam in november 2024, I observed Edin Karamazov using circular movements to gain momentum for each phrase, which created the sensation that each one flowed with ease due to his body control.
Eva also discussed the interpretation of characters, something we can bring to the guitar by creating situations that help us immerse ourselves in the role during a performance. This approach prepares our mind to not think of ourselves but of the character we are interpreting. Bel Canto is important for guitarists because it helps us enter a state of peace, where we aren’t distracted by fears and can concentrate on "singing" in our minds the pieces we are performing.
Eva María emphasized the need to eliminate unnecessary tensions, which is very applicable to guitar playing. We must control our bodies, practice yoga, perform stretches, and strive to maintain physical freedom; hence the importance of being fit and exercising as musicians. In my case, I practiced Taekwondo for 11 years earned my first dan black belt and I feel that this martial art positively impacted my flexibility and discipline, which are essential for Bel Canto practice.
Tae Kwondo can be beneficial for play bel bel canto on the guitar for several reasons:
1. Improved Discipline: Practicing taekwondo requires commitment and dedication, qualities that are also essential for studying and practicing a musical instrument.
2. Physical Development: Taekwondo enhances strength, flexibility, and coordination, which can help musicians have better bodily control, crucial for playing well.
3. Stress Management: Practicing martial arts can be an excellent way to release tension and reduce stress, leading to better focus and performance during musical presentations.
4. Concentration and Focus: Taekwondo teaches practitioners to concentrate and be present in the moment, skills that are equally important when interpreting music.
5. Self-Confidence: Practicing taekwondo can boost self-confidence, which can be especially helpful for musicians when facing audiences and live performances.
One phrase that impacted me in the master class was: "The quality of your sound comes from your internal resonance, from your internal vibration." Sound is vibration. The simplest way to vibrate internally is to sing; by doing so, we connect with our most personal self and, consequently, with our instrument. That’s why there are days when we feel our guitar sounds better or worse; it’s not about the guitar itself but our connection to that internal vibration, with the conditions of the hall being the same.
Eva also spoke about legato as the connection between phrases, which on the guitar requires good technique.
Zoran Dukić is exceptional in playing legato on the guitar and shows it is thus possible to reach a point of clarity in the phrases.
I observed another singer simulating that she had a brush in her hand to "paint" while singing the phrase. This exercise, without the guitar, can be very useful for understanding a phrase and then applying it while playing. It helps give signals to our body when concentration fades.
Finally, she discussed posture and healthy movements for the body. It is essential to seek a result. Typically, a healthy approach produces a greater quality, as the movement is performed from a state of happiness and positivity. Thus, upon achieving the result, we find ourselves in a positive state that reinforces itself.
I observed another singer simulating that she had a brush in her hand to "paint" while singing the phrase. This exercise, without the guitar, can be very useful for understanding a phrase and then applying it while playing. It helps give signals to our body when concentration fades.
Finally, she discussed posture and healthy movements for the body. It is essential to seek a result. Typically, a healthy approach produces a greater quality, as the movement is performed from a state of happiness and positivity. Thus, upon achieving the result, we find ourselves in a positive state that reinforces itself.
After two years of working intensively on this type of repertoire, I have come to understand many things I did intuitively as a child. Although they were correct, they often frustrated me because I didn’t understand why. Since I was young, I attended choirs like the Adlibitum Choir of Marta García in Mérida (Spain), and my teacher Rebeca Santiago would often sing melodies to me in class. She talked to me about concepts such as pulse, the search for a good sound, tension in performance, the need to relax, the importance of technical exercises, sinking the fingers while playing, and the relevance of breathing, despite not being a wind instrument. She also discussed projection, stretching, and how musicians, in part, are like elite athletes. Mentality is crucial: what you think about while playing, among many other aspects. Although it took me time to process this information, it has ultimately always been present.