Etude#1, Villa-Lobos, Bar 24

Classical Guitar technique: studies, scales, arpeggios, theory
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Luis_Br
Posts: 2265
Joined: Sun Apr 23, 2006 2:50 pm
Location: Brazil

Re: Etude#1, Villa-Lobos, Bar 24

Post by Luis_Br » Thu Mar 07, 2019 9:26 pm

I recommend this book, unfortunately only in portuguese:
http://www.lojaclassicos.com.br/detalhe ... 2-4&cat=03
A new amazing research with a lot of new material and conclusions on VL works for guitar. Including, for example, letters between Segovia and VL where the former asks questions about etudes he didn't record, or some of his South American recital programs including several of etudes he later on probably never played again.
Main conclusion in first etude is that Eschig with repetition is final VL version. Actually complete Eschig etudes is probably his final version, despite misprints etc. The subject is complex, you have to read the book...
I also never saw a reason for Carlevaro to lie or make up his comments on VL. He was a very correct person. He might have forgotten something, but the repetition stuff would be too important to forget, I think. Carlevaro recorded the eutde 1 with the echo effect (you find at youtube).

About the question, I do all 1-2. You need some jumps anyways and the final 1-2 >> start chord, you can do a little tricky "rallentando", it even sounds nice musically. Carlevaro recommends using some open strings to make jumps easier, but I think it is difficult to keep the slur articulation feeling and IMO it compromises the intended result. On the speed, I think it should be at least 120 bpm (the lowest allegro range).

robert e
Posts: 521
Joined: Fri Dec 11, 2015 6:49 pm

Re: Etude#1, Villa-Lobos, Bar 24

Post by robert e » Fri Mar 08, 2019 4:42 am

Mark, I'm tickled that I set off a scholarly/musical investigation, which I hope you're enjoying. I look forward to your findings.

For the moment, I like the idea that HVL wanted to pay winking homage to Bach, whether or not it resulted in better music. That said, I've now listened to some non-repeat versions of Etude 1 and I do like how that plays. Similarly, I've always liked the sound Parkening achieved by throwing VL's RH fingering out the window.

Regardless, I come back to the idea that these are etudes, presumably with a didactic purpose that may have at times conflicted with purely musical considerations. In that context, I believe it's appropriate for a virtuoso to take "liberties" for the sake of musicality, which does not contradict the possibility that HVL preferred the more didactic version for publication and legacy.

Luis, Thank you for the information. Wish I could read Portuguese! I ran across an academic paper that in passing mentions that Carlevaro's copy is very close to the 1990 Eschig edition, and multiple investigators noted that the publisher cites a revised reference manuscript that seems to be missing. So I wonder if it was Carlevaro's mss they used.

As far as I know, no one disputes that Carlevaro visited HVL for several months in 1943-4, and there's no reason to doubt his claim that while there he studied the etudes and preludes with HVL, and he obviously was given a bunch of annotated MSS. These, then, are probably the latest known revisions by the composer himself, as far as anyone knows. So I'm puzzled by how they seem to get little respect from those researching the etudes.
Last edited by robert e on Fri Mar 08, 2019 2:02 pm, edited 1 time in total.

Luis_Br
Posts: 2265
Joined: Sun Apr 23, 2006 2:50 pm
Location: Brazil

Re: Etude#1, Villa-Lobos, Bar 24

Post by Luis_Br » Fri Mar 08, 2019 12:40 pm

As a study, several fingerings can be practiced. Antonio Guedes, an important teacher here (teacher of Fabio Zanon among others), uses a list with 72 different RH fingerings for this etude, for RH practice. Guedes was student of Carlevaro.

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