|1 Year Renewal|
Heitor Villa Lobos has taken the guitar to an unparalleled level. In return, guitar players have put the Brazilian composer on a pedestal along side Barrios, Tárrega and Beethoven. Villa Lobos was an amateur guitar player at best. He was mainly a pianist and conductor. These factors have made his music so grand for the guitar. I have played many festivals and I shared the stage with piano players as well as orchestra conductors. It is simply amazing to watch the expression on a pianist face when he hears Villa Lobos prelude #1. It is as if it were saying: "The guitar can really play!".
Villa Lobos was essentially an impressionist. Therefore, the guitar is pushed to its lowest and highest possible volumes. Brazilian rhythmic structures appear and give life and spirit to the music. My teacher Abel Carlevaro worked closely with Villa Lobos and he had the greatest solutions for many technical challenges presented by the composer. We worked on the Prelude in Montevideo in 1986 and I will share the fingering and technical thinking behind it. Prelude #1 is based on a rhythmic figure which must always stay the same because it represents a manual drum type of instrument (green notes group).
The main melody is probably inspired on a cello (blue melodic line). This is perhaps one of the first "Grand Pieces" expressly written for the guitar. Villa Lobos genius shines throughout the piece. Below are the technical highlights of the piece:
January 21th, 2004