And so the time to play the suite as a whole came. I scratched my head quite a few times, trying to find ways to transition from one movement to the next, that held some musical logic. I also took time to work on details, and strengthen my memorization of the individual movements. Then came the time to record this weeks video, and it happened - I had more or less lost hope, but the suite as a whole made sense, right then and there. I have yet to find an analytical insight into why it works, but that is of lesser importance to me, as lond as I feel it. And Villa-lobos' statement, that the suite, to him is "not a suite at all", which i have read from more than one source... Well. To me, the suite is a suite now!
I have been thinking, that the difference in musical language between the first 4 movements and the Chorinho had to do with Villa-Lobos' stays in Paris, but since he did not go there until, 1923, and the suite was finished in 1912, that idea has to be attributed to my overly active imagination. It does however show clear traces of the musical developments in Europe at the time, with its dissolvement, or at least concealment of traditional harmonic structure.
Before I leave you to this weeks video, I want to wirte a bit about the psycological aspects, that I felt first hand, of combining the movements into a whole. It is strange, how details, that carried a great weight, when a movement was a short, musical whole suddenly become of less importance - not at all unimportant, but somehow musically and technically easier to perform, because the failure or success of the performance does not depend on the success of that particular place.
It was already during the first movement, that I suddenly perceived the musical wavelengths as being much longer, making it wasier to play through and past passages, that seemed musch heavier before. The all-too-well-known fear of making mistakes, as unneccessary and counter productive as it is, took a step to the background, bacause I felt a different balace to the suite, wlloing me a different kind of freedom of play. It will however be obvious to anyone, that I have a ways to go before I have the stamina to play the suite to the end with out the last two movements suffering somewhat. That being said, I feel that I managed to keep it together, because the details missed were mentally weighed against the whole, and therefore did not carry an experience dusruptive weight.
The suite was the part of Villa-Lobos' solo guitar works, that I had the least forehand knowledge of, when I began this project - and now for the studies. Untill next week!
Suite Populaire Bresilienne (complete playthrough from Thomas Lyng Poulsen on Vimeo.
Direkte link til video
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