Tunnel vision - and the temporary loss thereof

http://guitarconfessions.blogspot.com/2015/04/tunnelsynet-der-blev-vk-for-en-stund.html

The first 28 weeks of my Villa-Lobos project, was caracterized by me, stubbornly insisting on posting regularly - more or less weekly, and with fresh video footage every time. THe project was highly concrete, and the goal clear. Learn a movement every week - film, upload, discuss! When I ran out of canonized movements, the whole thing got a little more blurred around the edges, and all the other things, that I do, seemed to demand my attention with renewed energy. The postal delay of the score to the posthumously published Valsa Concerto no 2, op. 8 caused my momentum to dissapear, and then there was the solo recital, the gigs on the electric guitar, the study of my part for an ensemble piece and production of arrangements for - and conducting of - 12 school concerts with large and heavily mixed Music School ensembles. All of this pushed my attention away from Villa-Lobos, and I lost the creative tunnel vision, that had marked tis project up until then...

This however does not mean, that I have left the building completely. I have actually found the time to glimpse at the score for the Valsa Concerto no 2.

The manuscript was - so I read - found by coincidence, and is incomplete. It is an early piece, and I doesn't feel, to me, as well rounded as the pieces I have played so far. It does not flow as naturally, and the ever present idiomaticism of Villa-Lobos' guitar writing is missing somehow. I may have to play the piece some more, for it to reveal itself, but the other pieces have opened up to me sooner, I feel. Fréderic Zigante has edited the manuscript, and added a section in a minor, that the manuscript leads up to, but which is missing. He has also written out a reprise of the opening theme, and written a short ending to the piece. All very well executed, and the nerd in me likes the fact, that there is now one more Villa-Lobos piece in the world, even though I am not quite sure what to make of it...

Is it merely interesting from an academic wievpoint? A glimpse at where the composer of all those iconic pieces comes from, that it would be perfectly fine to leave on the page without forcing it upon audiences to hear? Or is it in fact music that deserves attention? As I mentioned - I have yet to make it flow freely, but that may well be a matter of investing more time in the practise room. The lack of natural flow may be caused by the fact, that in stead of writing small pieces for the instrument - as in the Suite Populaire Bresilienne, Villa-Lobos has made an attempt at a true concert piece. It is as if he tries to hard to impress the imagined listener in the opening... on a side note, it is curious, that the additions of Zigante almost feels more like Villa Lobos, to the fingers, than the sections that come from the manuscript. All of this is purely based on subjective feelings, but sometimes, as a musician, that is all we have to go on!

The edition contains 2 other movements "Simples", which is an early version of the Mazurka from the Suite Populaire and some early versions of Chôro no 1. The value of including these pieces is almost purely academic. The musical value of the few differences to other versions is small at best, and I doubt, that audiences will feel, that they have heard different pieces, if they were presented with both versions. As a guitarist however, it is interesting, to get a glimpse into the thoughts that led to the previously published versions. The Simples DOES have an short introduction, that is quite pretty, which I might consider adding to the suite when performing it, should the wheather, mood, sun and stars align just right one day...

Hopefully this post will be the harbinger of a new period of regular updates, at least until I feel, that I can close the book on Villa-Lobos in the context I have created here. In the real world, he will, of course, continue to haunt me for the rest of my active guitar playing career... Since last, I have played the 5 preludes as a suite, and must admit, that there is a meaning to doing so, regardless of me earlier have expressing many a reason, why this might NOT necessarily be what the composer wanted. The video of that performance has however been lost, caused by my lack of IT skills. Therefore, the only video I have for you, is not Villa-Lobos - but it is from the same recital!