Antonio Lauro, "Valse Venezolano #2"
Version and Fingering: Renato Bellucci
This is one of the most lively pieces for the classical guitar. It poses a few challenges to the player mainly in the phrasing and in the interchanging rhythms. Lauro is one of the best Latin American composers along with Ponce, Villa Lobos, Piazzolla and Barrios. His music is fresh and the performer must keep this freshness alive as he plays the piece. The tempo can be stretched or compressed quite a bit. I have heard it played in many different ways and I find beauty in all of the interpretations. My way to play the work is on the fast side. Below is one of the best interpretations of the work by my friend guitarist Ana Vidovic. The other great rendition of the work is by one of my teachers, the Venezuelan Alirio Diaz with whom I worked in Rome in the early 80s.. Being Venezuelan and knowing Lauro very well, Diaz knows the Venezuelan Valses in and out and renders it spectacular to say the least.
This is one of my favorite Interpretations of the work.
Ana Vidovic also plays Valse #3 which will follow the current masterclass.
Staff and Video 1
The work begins solemnly and keeping a steady and relentless pace. Bach was the first composer to "Romanticize" music centuries before the word Romantic even existed. Your whole self must be in the interpretation of the piece. Try to hold the bass line for as long as possible.
Notice how the arm, elbow and wrist help the fingers do the work. These is the main factor behind effortless playing.Finger 2 stopping the G in measure 2 acts like a pivot and the same is true for finger the G# in in measure 3. The hand uses these fingers as pivots to achieve a precise rotation of the playing apparatus.
Revision: San Bernardino, February 6, 2013
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