Thanks Denian and Erik. I wish I could listen to Mills in a concert. Some friends told me his sound is really amazing.
I agree and I will write some other thoughts.
To me, music comes before technique. So I think not changing RH position is musical limiting rather than the opposite
He seems to move his whole right hand a lot. I wonder how technically limiting it is... Not really convinced by his RH (but if it works for him and what he plays...). Kayath seems to be much more interesting in a guitarist point of view (and otherwise imo) for the big old school tone.
It is interesting that you mention Marcelo Kayath. He recently wrote an article against modern tendency to forget about guitar colors and so on. There is a tread here in the forum about that. That article also generated a nice discussion in a Brazilian gutar forum and Marcelo wrote several other thoughts there. He was also very specific in the technique. He agrees that when moving the RH it is more difficult to play without mistakes, but he said he prefers the risk, or to study much more, but he would never play in a flat mechanical way just to avoid mistakes. He thinks modern players do not move RH too much because they are affraid to make mistakes, so they prefer safety.
I agree with that (: when I wrote "he moves his right hand a lot", I meant "he moves his Rh a lot in order to produce one note". So it could be rather limiting in a complex RH context (faster tempo, more meaty polyphonic writing, etc.). This doesn't mean it's a bad way of producing a note. Just (maybe) limited.
But maybe he moves his whole hand to produce one note just for fun
Otherwise I also am a great supporter of the very varied and rich shades of tone and attack we can hear in some guitarists' playing - otherwise I'd stop playing the guitar, because it has also a lot of "defaults" as a classical instrument. The tone and its shades is IMO where lies poetic quality of our instrument.
edit : About the young conservatory guitarists. I think you're being a bit hard here. After all, as you point out they're just coming out their conservatory. I think we tend too much to compare any of the many 23 years old guitarist who win competitions with the mature Bream or Segovia.
Although I agree about the fact that they're boring, how many musicians can claim to already be worth comparing to the great masters being twenty-something ?
Richter ? Menuhin, Milstein, Bream, Argerich and some other maybe. But these guys were unique, it's unfair to judge even a GFA winner by this standard.
That said, I guess some young guitarists like Marcyn Dylla (can't think of anyone else ?) could be contender.
Cette dernière trahison m'a été également reprochée. Ce que je trouve à répondre, c'est:"merde aux conventions!"