And so, another week in the company of good Heitor came and went. I have finished reading "The World of Villa Lobos", and have taken a first peek into another book, simply entitled "Heiotr Villa Lobos". In contrast to the two books I have read so far, this seems to be a book that deals primarily with the music in stead of the man. An exiting read, I am sure. Study no. 2 is a big job for the left hand pinky, the good old foutrth finger. Several times during the week, I have sympathized with my beginner students and their "It won't do it"""- comments, when prompted to use the fourth finger instead of more or less impossible attempts at avoiding the use of it.
I stumbled across a bachelor thesis discussing the 12 studies and the differences between the 1928 manuscript and the published version; something that I, despite my tendencey towards thick irony towards those who find it VERY important to determine which version is the right one, found an interesting read. While reading I found a few differences between the versions, that I had not registered and therefore did not read, last week. Nothing that dramatically changes the overall impression, but still things, that will be heard clearly in a direct comparison. The differences in question are certain notes, that I played as harmonics in last weeks video. In one case, one version states a note as a regular note where the other is marked as a harmonic, in another instance, it is the other way around. In both cases, I find the use of the harmonic to be the best choice, based purely on my own preferences.
I have chosen to play this weeks study as a hybrid version, since this, in the end, is the way I feel one should approach the studies. Study no. 2 contains several repeats in the Max Eschig-edition that are not found in the manuscript. As in study no one, almost every single measure is repeated, and as with study no. 1, it feels most natural for me to play them. The ending of the study has a cryptic playing instruction, that I have seen interpreted in different ways, or just plain ignored, but the manuscript version is a bit more precise than the published one, and I feel that what I do, based on how I read the manuscript, is the most musically logical way of playing the three double stops in question. It is an unconventional and slightly quirky idea, to play the notes "behind" the finger fingering the traditionally fingered note. To me, it has the mark of understated genius.I noticed one more difference between the versions; the last note of the long ascending scale in the middle of the study is a G sharp in the manuscript, and af F sharp in the Eschig-version. I haven't decided which one I like best yet. F shapr is more folcloristic, G sharp more classical in flavour
When it comes to tempo... I am not quite there yet, now am i? There is room for improvement in certain passages, and I dearly wish I was able to do more in terms af dynamics, than what I display in the video. But here it is, this is where I am at today.
To night I am playing at a street party in the square of the town where I went to school as a child - so I am leaving the world of classical music, to go charge up my electric guitar playing alter ego!
Etude no 2 from Thomas Lyng Poulsen on Vimeo.
Direct link to video
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